Rent: A Cinematic Rock Opera
by Mc5TenforTwo
Summary: A fan's screen adaptation of "Rent," devised from the ruins of other screenplays to create an alternative to Chris Columbus' excuse for a film released by Sony in 2005. Please read and review!
1. Title Page

"RENT"  
A Cinematic Rock Opera

Screenplay Compiled from Material by**  
Stephen Chbosky  
Chris Columbus  
Glenn Ripps**

Screenplay Adaptation by**  
GloryBlaze2004**

Revisions by**  
Mc5TenforTwo**

Based on the Stage Musical "Rent"  
Book, Music & Lyrics by **Jonathan Larson**  
Original Concept and Additional Lyrics by **Billy Aronson  
**Dramaturgy: **Lynn M. Thomson**

****First Draft  
© April 14, 2000  
Stephen Chbosky

Revised Draft  
© September 21, 2004  
Stephen Chbosky and Chris Columbus

Alternate Draft  
© November 13, 2004  
Glenn Ripps

Mc5TenforTwo Version  
© July 16, 2010  
Mc5TenforTwo and GloryBlaze2004


	2. Author's Note

In New York, you see it all the time.  
_Street performers. Homeless performers. Rock clubs. Protests. Young artists jamming._  
Any season, any year. This city **sings**.  
So, when reading the following pages and trying to see the wet streets and alleys, young faces, and Christmas lights, I encourage you to try and HEAR the movie as well.  
The soundtrack mixed like a rock concert, not a film.  
The performances not lip-synched. But vibrant.

The emotional and visceral sensation we all had going to our first concert.  
_Our ears ringing. Our cheeks red. So goddamn happy._  
Imagine that sensation as you get to know Mark, Roger, Mimi, Angel, Collins, Benny, Maureen, and Joanne.  
The sound in the red. Blasting over the cold wet streets. Alive.

This movie, like the show it was based on, and opera, and short story, is a celebration.  
A celebration of young people struggling to make art and live life in the face of heavy obstacles, both inside and out.  
A document to the idea that youth is fleeting, we only live once, and there is no day but today.


	3. Rent and Opening Sequence

**FADE IN:**

TITLE SEQUENCE

EXT. NEW YORK CITY – VARIOUS LOCATIONS – NIGHT

Quick documentary images and sounds. Heightened. The cinematic equivalent of turning a radio dial through New York City at Christmas time. Ice skating. Trees. Filthy snow. Cold wet feet. Shoppers. Lovers. Assholes.

We're on the street. A drum is beating. And this LATINO KID is banging the hell out of it. A crowd throws him money.

On another street, FIVE BLACK KIDS are break-dancing for a crowd of theatregoers, who are enjoying it more than the show they're about to go back into.

On another street, THREE HOMELESS MEN are humming a melody in a gorgeous three part harmony. A thick bass, a smooth baritone, and a sharp bracing tenor.

On another street, the outside of CBGB's. The notorious club. A legend. Now, a brand name. AVENUE A KIDS, dressed as their punky fuck you selves, mill about waiting to tear up some shit.

INT. CBGB'S – NIGHT

On the stage, ROGER DAVIS, 22, is with his band, THE WELL HUNGARIANS, and they are, to use band speak, gelling. After two years, they know each other's moves and they attack each note from the top. It's a fat angry sound and Roger is singing. He's gorgeous. Charismatic. The song is "Rent." NOTE: All song lyrics are in _italics_.

ROGER  
_How do you document real life when real life's  
__getting more like fiction each day?  
__Headlines, breadlines, blow my mind, and  
__now this deadline, eviction or pay. Rent._

MARK COHEN, 23, funny and loyal and smart, is filming the show with his old 16mm Bolex camera. He tells one of the kids to get out of the way. The kid responds by slapping Mark's camera. It hits the ground with a BANG! Mark freaks, picks up the camera, and starts shooting. Whew. Not broken.

ROGER (CONT'D)  
_How do you write a song when the chords  
__sound wrong though they once sounded right  
__and rare? When the notes are sour, where is  
__the power you once had to ignite the air?_

Some A kids are starting to get into the band. Tapping reluctant feet. MIKE, the Well Hungarians androgynous bass player, steps up to the microphone with Roger.

MIKE  
_We're hungry and frozen_

ROGER  
_Some life that we've chosen._

The song finds a pocket and Mike and Roger sing a tight two part harmony. Looking at each other. Sweating. Feeding off each other's energy. Roger high and bracing. Mike smooth.

ROGER & MIKE  
_How we gonna pay? How we gonna pay?  
__How we gonna pay? Last year's rent._

At his own table sits Benjamin Coffin III. BENNY (23) looks out of place in the club. Better dressed and composed. A black guy where most of the CB crowd is white. He's watching the show, intently. A drunk rowdy kid spills beer on his jacket. Benny pushes the kid back. It starts a mosh pit.

ROGER  
_How do you start a fire when there's nothing to  
__burn and it feels like something's stuck in  
__your flue? How can you generate heat when  
__you can't feel your feet, and they're turning  
__blue!_

MIKE  
_You light up a mean blaze_

ROGER  
_With posters_

MIKE  
_And screenplays._

ROGER & MIKE  
_How we gonna pay? How we gonna pay?  
__How we gonna pay? Last year's rent._

In front of the stage, a circle forms around a little show happening on its own. She's not pretty. But she's dripping hot. The kind of girl you just want to fuck (no offense).

The circle chants as the girl slowly peels off items of clothing. This is MAUREEN JOHNSON, 22. Sexy, diva, workin' it, exhibitionist, tits, ass, and money Maureen.

Mark Cohen, in a comic double take, stops filming the band and turns his camera on Maureen as she jumps on the stage with Roger and Mike, pretending to give them both head. Mike and Roger look at each other. "Who's this chick?"

ROGER  
_How do you stay on your feet when on every  
__street it's trick or treat and tonight is..._

Roger indicates Maureen.

ROGER (CONT'D)  
_Trick. Welcome back to town you should lie  
__down everything's brown and uh oh..._

Maureen bends over the stage and throws up. It seems like part of the show. Mark can't get enough of this insane girl.

ROGER (CONT'D)  
_She feels sick._

MIKE  
_Who __is__ she?_

ROGER

_Getting dizzy._

ROGER & MIKE  
_How we gonna pay? How we gonna pay?  
__How we gonna pay? Last year's rent._

The song continues instrumentally while Roger addresses the crowd. Completely at ease.

ROGER  
I just have to stop singing and just say I fucking love this girl puking on my feet. I want to marry her. Are you alright?

MAUREEN  
Fucking great. Don't stop. Don't stop!

ROGER  
Are you guys going to help us end this song or what?

The Avenue A kids all applaud.

ROGER (CONT'D)  
Alright. If you know the words, sing with us. And when we get to the chorus, I want to hear everybody. Mark. Mark Cohen! Pussy!

Mark snaps out of his Maureen trance and turns the camera back on Roger, who beckons him on stage.

ROGER (CONT'D)  
Not the camera. Get up here.

Mark shakes his head. NO. Roger gives him the stare. Mark comes up, daintily stepping over Maureen's body. Let's just say Mark is a lot more comfortable looking at people than getting looked at.

ROGER (CONT'D)  
My roommate Mark Cohen everybody. He's making a video for the band and this Spring, he's making an independent movie starring...

MARK  
Oh... uh... Bob Denver.

ROGER  
Who?

MARK  
Gilligan of Gilligan's Island.

The A kids go wild! Mark is caught off guard and suddenly loves the attention. He stands between Roger and Mike's sweaty faces. Mark's singing is reluctant at first, but after a beat, he starts to really love it. Just joyous.

ROGER  
Ready. Go.

The fans join in. It's a big wall of sound.

ROGER & MARK & FANS  
_How do you leave the past behind when it  
__keeps finding ways to get to your heart. It  
__reaches way down deep and tears you inside  
__out 'til you're torn apart. Rent._

Mike steps in for Mark. The crowd applauds Mark as Mark calls up Benny. Benny smiles and climbs up onto the stage. The once reluctant crowd is starting to get rowdy.

ROGER & MIKE & FANS  
_How can you connect in an age where  
__strangers, landlords, lovers, your own blood  
__cells betray._

Mark and Benny join Roger and Mike and the whole crowd is on its feet, singing, dancing, tearing up.

ALL  
_What binds the fabric together when the  
__raging, shifting winds of change keep ripping  
__away._

Roger nudges Benny forward.

BENNY  
_Draw a line in the sand and then make a  
__stand!_

ROGER  
_Use your camera to spar._

MARK  
_Use your guitar._

ROGER & MIKE & CROWD  
_When they act tough – you call their bluff._

Roger leans over to Mark.

ROGER & MARK  
_We're not gonna pay._

Mike joins in. The crowd is rising.

ROGER & MARK & MIKE  
_We're not gonna pay._

It's infectious, and the whole crowd chimes in.

EVERYBODY  
_We're not gonna pay. __Last__ year's rent._

Roger continues the chorus and mimes the next lyric for the crowd. Jumping. Up and down.

EVERYBODY (CONT'D)  
_This__ year's rent._

Roger again. The word "next." Everyone sings.

EVERYBODY (CONT'D)  
_Next__ year's rent. Rent. Rent. Rent. Rent.  
__Rent. We're not gonna pay rent._

Roger looks at Mark. "Come on. Finish with me."

ROGER & MARK  
'_Cause everything is rent._

A big flourish. Crunch. Crunch. Gone. The song ends to the kind of applause that says, "Thank you for getting my uptight ass up and dancing."

EXT. CBGB'S – NIGHT

AVENUE A KID  
That was fucking great.

ANOTHER A KID  
Oh, they sucked.

SUBTITLE: New York City, December 21, 1994

INT. CBGB'S BATHROOM – NIGHT

It looks like we're in a lava lamp. Blood dancing in water and heroin. Someone is "booting". When the blood mixes fully, the whole load is shot through the needle into...

ROGER. His eyes go from hungry to fucked up and pleasant. He hands the works to TWO JERSEY GIRLS. They adore him. Want to fuck him. Like the mall.

ROGER  
Debbie Harry had sex in this room.

JERSEY GIRLS  
(simultaneous – for laughs)  
No shit.

One lights a cig. The other fills the syringe with water from the sink tap. Roger smiles. Great smile.

ROGER  
Television, the New York Dolls, Patti Smith right here.

JERSEY GIRL #1  
You guys were fucking great tonight.

INT. CBGB'S – NIGHT

Mike is banging on the bathroom door. He's gotta piss.

MIKE  
Come on, Roger. Jesus!

The door opens, and Mike beelines for the bathroom. Roger and the girls walk out into the club. Hazy. The girls are making their move on Roger. Cooing.

JERSEY GIRL #2  
You're boring.

ROGER  
No. I'm taken.

JERSEY GIRL #1  
Then, your girlfriend's boring.

Roger doesn't like people talking shit about his girlfriend.

ROGER  
She puts up with my ass, alright? Thanks for the dope.

Roger leaves the girls.

JERSEY GIRL #2  
Way to fuck it up.

JERSEY GIRL #1  
Pepper, find another dick to suck. Okay? Jesus.

Roger passes Mark and Maureen, sitting at a table. He pats Mark's shoulder and keeps moving. We stay at the table.

MAUREEN  
I want to do performance art pieces that decry the abusive treatment and objectification of women.

MARK  
(wants to fuck her)  
It's so wrong.

MAUREEN  
Exactly! Pieces like Laurie Anderson did in the 80's. You ever see her?

MARK  
(never heard of her)  
All the time.

Maureen smiles. She knows he's lying. But enjoys the game.

MAUREEN  
So, tell me about this Gilligan movie.

MARK  
Well, it's very political.

INT. CBGB'S – LATER

The club is dark except for the bar and one table where Benny sits with Roger, Mark, and the entourage including the band, Maureen, and the Jersey girls (now hanging all over Mike). The table looks warm like a campfire. Roger looks up.

ROGER  
Collins!

A man stands at the door. Black. Masculine. A vagabond. A computer genius. A kind face. Gay. And with all that said, we haven't even cracked the surface of TOM COLLINS (27).

COLLINS  
So, what'd I miss?

The greetings are warm as Collins finds a place at the table.

MARK  
Sit down. Sit down. Benny says he has good news.

Everyone settles in, and attention is turned to Benny.

BENNY  
Allison's father bought me the building.

The group ad-libs SHOCK, then excitement. This is good news.

JERSEY GIRL #1  
(whispers)  
Who's Allison?

MIKE  
His wife.

BENNY  
A couple of investors and I can finally build the cyber-studio. Publishing, films, music, all under one roof. No outside bullshit. Can you imagine?

MARK  
(excited)  
And you can rent out the top floors. You won't even need an overhead deal.

ROGER  
That's great, Benny. Congratulations.

BENNY  
No, man. Congratulations to you. You're going to get signed this year. You know that.

Roger smiles sheepishly.

BENNY (CONT'D)  
Look at that fucking smile. You're a star waiting to happen, and Mark's making his movie. So, I want you guys to use your money for equipment. Film stock. Whatever. Consider me a patron. You can live rent free in our old loft, work on your stuff, and when the cyber studio takes off... we'll have our first two artists in residence.

MARK  
Are you serious?

BENNY  
Robin Hood just married the Sheriff of Nottingham's daughter. You're golden.

ROGER  
Jesus, Benny. I don't know what to say.

BENNY  
Say you'll accept.

MARK  
We accept.

The three guys sit in the glow of their friendship. A beat. COLLINS talks to the rest of the group.

COLLINS  
Come on, everybody. The boys are going to have a "moment".

MARK  
No. Wait. I propose a toast.

BENNY  
What?

MARK  
One year from tonight. The band is signed. My film is in Sundance. Maureen's performance piece is Off-Broadway. Laurie and Pepper are in beauty school.

The Jersey girls (Laurie and Pepper) nod.

MARK (CONT'D)  
Collins is getting his diploma from M.I.T. And Benny has his cyber studio.

BENNY  
That I'll drink to.

The group ad-libs big agreement.

ROGER  
Hey, Adam.

The bartender ADAM, 35, smiles. This guy has been at CBGB's for 15 years, and he's heard it all before. But he always hopes for the kids. It's what keeps him around.

ADAM  
What are you drinking?

ROGER  
Jagermeister.

EVERYBODY  
Oh, shit.

COLLINS  
Stoli for me.

The Jagermeister and Collins' Stoli is poured and delivered.

MARK  
To one year.

ALL  
One year.

The Jagermeister is gulped. A beat. Then, groans.

EXT. CBGB'S – DAWN

The entire entourage laughs into the early morning, making a trail through the fresh snow. Mark squints at the sun.

MARK  
God's flashlight.

Maureen sees a three piece SUIT walking downtown, giving the kids a dirty look. Maureen smiles at the man, taunting...

MAUREEN  
(sing-song)  
You have to go to work now. You have to go to work now.

Mike and the band leave with Laurie and Pepper. Warm "see ya's" all around. Benny turns to Roger.

BENNY  
April's going to kick your ass.

ROGER  
What about Allison?

BENNY  
Good point.

ROGER  
Where'd Mark go?

Benny points and Roger looks over to see Maureen and Mark, laughing together.

ROGER (CONT'D)  
That romance just screams future.

BENNY  
No shit.

The friends look at each other. All love need not be spoken.

ROGER  
I miss you being around, Benny. April misses you, too.

Benny smiles. Then, points to Roger's arm.

BENNY  
You gotta stop doing that shit before she leaves you, you know?

Roger nods. Benny smiles and moves to a huge white limo.

BENNY (CONT'D)  
Can I give you a lift Collins?

Collins nods and gets in.

MARK & MAUREEN  
See ya Benny! Collins!

Benny waves and climbs in. Roger calls out to Mark.

ROGER  
You guys coming to the loft?

MARK  
No. Maureen wants to show me her latest performance piece.

ROGER  
I'll bet.

Our view goes above. Mark & Maureen walk downtown. Benny's limo drives uptown. Roger walks East toward Avenue B. The image is of the friends going in three different directions.

EXT. TOMPKINS SQUARE PARK – DAWN

Roger walks through the park. We see him in the distance, passing homeless people and A kids.

ROGER  
(to himself)  
April, I know. Okay? It was just a little bit to celebrate.

INT. LOFT BUILDING

We see Roger from below, climbing endless stairs. Two at a time. Quickly.

ROGER  
I promise. No more. Alright?

INT. HALLWAY RIGHT OUTSIDE THE LOFT

Roger puts his key in the lock.

ROGER  
Just do me one favor... don't be awake.

Deep breath. He opens the door.

INT. THE LOFT

It's quiet. The sofa empty. Roger whispers.

ROGER  
April? April?

Roger exhales. Whew. She's not awake. He puts his stuff at the base of an old coat tree and moves into the loft. It's spacious and run down. Rock 'n roll posters hang on the walls along with classic cult movie posters. Faster Pussycat Kill Kill. Harold & Maude. The Rocky Horror Picture Show.

INT. LOFT KITCHENETTE

Roger walks into the little room and grabs a box of Cap'n Crunch. He turns around and freezes.

ROGER  
God dammit.

There's a note on the counter. All the outside says is "Roger." He walks over to pick it up, frustrated, thinking April finally left him. He opens the note, already guessing what it says, until he sees what it really says. His face goes pale. Three words... "WE HAVE AIDS."

His jaw opens. His eyes widen. "Is this a joke?" He rushes out of the kitchen. Pissed. Scared shitless. Everything.

INT. ROGER AND APRIL'S BEDROOM

Roger looks in the room. The bed is made and not slept in.

ROGER  
April!

INT. MARK'S BEDROOM

Roger rushes in. Tons of movie equipment. No April. He looks panicked. Leaves.

ROGER  
April! God dammit!

INT. HALLWAY

Roger rushes down the hall. The image bouncing and rough.

ROGER  
Where the fuck are you?

INT. THE BATHROOM

Roger rushes into the bathroom. April is in the bathtub. Her eyes are opened right toward him. Not looking. Haunted.

Roger looks at her pale face, the razor blade on the ground, and the bath water beet red. April's dead. Roger completely shuts down. The only sign of life being tears running down his face. And then, pouring out of him, his throat clenched.

ROGER  
Oh, Jesus. This didn't just happen.


	4. Seasons of Love, You Okay Honey, OSG

**SMASH CUT TO:**

INT. BROADWAY THEATRE – TIMELESS

It's an empty stage. After a moment, the entire company of performers moves from the sides to the front. It's somber and silent. They stand in a row under the lights. Then, we hear the warm chords of a song. "Seasons of Love."

COMPANY  
_525,600 minutes. 525,000 moments so dear.  
__525,600 minutes. How do you measure –  
__measure a year?_

We pan across each young face. Some we know already – MARK, MAUREEN, COLLINS. Some we'll meet soon enough – MIMI, JOANNE. Each person has an air of sadness. Asking a simple question and giving a simple answer.

COMPANY (CONT'D)  
_In daylight. In sunsets. In midnights. In cups  
__of coffee. In inches. In miles. In laughter. In  
__strife. In... 525,600 minutes. How do you  
__measure a year in the life?_

The entire company leaves the stage and files into the empty hall. Their voices find a beautiful harmony.

COMPANY (CONT'D)  
_How about love? How about love? How  
__about love? Measure in love. Seasons of  
__love. Seasons of love._

As they leave the empty theatre, a female soloist begins.

FEMALE SOLOIST  
_525,600 minutes. 525,000 journeys to plan.  
__525,600 minutes. How do you measure the  
__life of a woman or a man?_

EXT. TIMES SQUARE – DAWN

The company exits the broken down theatre onto 42nd Street, which is empty of people. A quiet New York City.

MALE SOLOIST  
_In truths that she learned or in times that he  
__cried. In bridges he burned or the way that  
__she died._

As the titles and song continue, the company walks down 42nd Street, past the Broadway theatres, which play other shows by RENT creator Jonathan Larson: Tick, Tick, Boom. J.P. Morgan Saves the Nation. Superbia. Half Empty House.

COMPANY  
_It's time now to sing out though the story never  
__ends. Let's celebrate. Remember. A year in  
__the life of friends. Remember the love.  
__Remember the love. Remember the love.  
__Measure in love._

As the company turns the corner onto Broadway, Mark Cohen turns the other way. Unlike 42nd Street, Broadway is littered with people.

FEMALE SOLOIST  
_Measure, measure your life in love._

COMPANY  
_Seasons of love. Seasons of love._

The company is absorbed into the crowds of Broadway. Mark turns the other way and walks into a RENT A CAR company.

EXT. HENRY HUDSON PARKWAY – DAY

A cold winter sun. As Mark drives the rental car, the song finishes on the radio with a blistering solo.

FEMALE SOLOIST  
_Measure your life, measure your life in love._

INT. RENTAL CAR – DAY

Mark turns off the radio as the song ends.

EXT. HOSPITAL – DAY

The building stands sterile and quiet.

SUBTITLE: Cornerstone Rehabilitation Hospital, December 21, 1995

INT. HOSPITAL REHAB ROOM – DAY

The room is dark. Roger sits completely still on a small bed. His bags are packed at his feet. We can hear people in other rooms. Withdrawing. Shouting. The sound is SUBTLE, MUTED. After a moment, a nurse knocks and opens the door.

NURSE  
Your friend Mark is here.

Roger nods.

NURSE (CONT'D)  
Are you sure you don't want a referral for a group in New York?

Roger shakes his head. No. The nurse nods and leaves.

EXT. HOSPITAL – DAY

Roger walks out of the hospital with his bags. He gazes up at the sun and squints. In the light of day, we can see how different he looks. Pale. Tired. The last year has been hell on him, and he is now inside a tough "dry drunk." He looks down at the cul de sac. Mark is there with his 16mm camera. Filming. Smiling.

MARK  
You look like shit.

Roger doesn't smile. Mark's camera jams. He smacks it.

EXT. 11TH STREET AND AVENUE B – NIGHT

The rental car pulls up through the noise and throngs of East Village kids and tourists walking around.

Roger gets out of the car and looks around. His expression betrays a lot of history. Especially when he sees a DEALER in Tompkins Square Park, who gives a dime bag to an A kid, then looks at Roger. And smiles. Roger was an old customer.

Roger turns away and something catches his eye. Adjacent to the building is an empty lot, in which a TENT CITY has sprung up. Dozens of homeless people, some with little kids, are trying to get warm.

ROGER  
How long have they been here?

MARK  
Since the Summer. The mayor cleaned out the tunnels.

INT. LOFT BUILDING – NIGHT

Mark waits as Roger walks the stairs. One at a time.

MARK  
You hear about Collins?

Roger shakes his head.

MARK (CONT'D)  
He got kicked out of M.I.T. Reprogrammed all the school computers to play "Danke Schoen" on a continuous loop. They couldn't turn it off. And every time they tried, fifty cents was donated to the United Negro College Fund.

Roger starts laughing. Mark smiles.

MARK (CONT'D)  
He's coming back. We might see him later.

Roger, still laughing, nods his approval. Then, without warning, Roger's laughter turns into a bad coughing fit.

MARK (CONT'D)  
Are you alright?

ROGER  
Just something I'm getting over. Don't worry about it.

But Mark is worried about it, especially when Roger takes out a couple of horse pills and swallows.

ROGER (CONT'D)  
Is Maureen waiting for us? I'm not sure I can take any of her shit right now.

MARK  
If you must know… she left me last month.

ROGER  
What do you mean? What happened?

MARK  
She said that since the Gilligan movie fell apart, I haven't been the same. I told her I'm just going to find things that interest me and shoot without a script, right?

ROGER  
Right.

MARK  
But she said she needs to focus on her work and political causes.

ROGER  
What political causes?

MARK  
This week, it's the homeless. I forget what it was last week. The only thing Maureen ever really committed to was Paul Newman's Spaghetti Sauce. She said it was the charity, but I think she just wants to fuck Paul Newman. Anyway, she met somebody, so—

ROGER  
What? She left you for another man?

MARK  
Well—

ROGER  
What's his name?

MARK  
Joanne.

Roger finally reaches Mark.

ROGER  
You're better off.

MARK  
Yeah… who needs transcendent filthy sex three times a day for another 12 months?

INT. MARK AND ROGER'S LOFT – NIGHT

It's dark and quiet. We hear a key go into a lock. The door opens. The boys are in silhouette, until...

The lights go on and 20 OR SO PEOPLE JUMP UP!

EVERYBODY  
SURPRISE!

Roger looks tense. A surprise party is about the last thing he wants to deal with right now. He sees all the familiar faces. Mike and the band. He turns to Mark, who's smiling.

MARK  
Welcome home, Roger.

Everyone applauds. Roger forces a smile as he's swarmed by the crowd.

EXT. NEW YORK CITY – VARIOUS LOCATIONS – LATE NIGHT

We hear the high notes of a piano. Staccato. The opening of "You Okay Honey?" Every four notes, we see a different person in the cold, hard at work to pay the bills.

A hot dog vendor making his last sale. A secretary buying a hot dog on the way home. A tired cab driver picking up a fare. A street sweeper. Ameter maid. A Chinese Delivery Man on a bicycle. A dignified IRANIAN MAN with a long beard and a turban wearily handing out flyers for the Cat Scratch Club.

IRANIAN MAN  
(monotone)  
Girls. Girls. Girls.

And finally...

EXT. EAST VILLAGE PAWN SHOP – LATE NIGHT

A boom box on the ground provides the piano for three homeless men, who are singing. One wears a GREEN CAP. The other a RED SCARF. The third a SANTA CLAUS outfit.

THREE HOMELESS MEN  
_Christmas bells are ringing. Christmas bells  
__are ringing. Christmas bells are ringing._

No one is dropping change into their cup. They look at each other and continue singing.

THREE HOMELESS MEN (CONT'D)  
_Somewhere else. Not here._

Collins passes the three and throws a quarter down. The three homeless men bow. Collins bows back and turns to go on until a hand grabs him and pulls him into…

INT. ALLEY – NIGHT

Collins spins around, not knowing where he is. The music stops. He looks up just in time to see…

A BASEBALL BAT. Rise up and smack the side of his head. Collins hits the ground, bleeding. The owners of the bat - two 12 year old Latino KIDS rifle through his stuff. His wallet is empty.

KID #1  
Fuckin' queer. Nothing.

KID #2  
Grab his coat.

They take Collins' coat and leave him in the freezing cold. Collins tries to get up, then passes out.

**SMASH CUT TO:**

EXT. AN ALLEY – NIGHT

Collins wakes up with a START. Freezing cold. "How long have I been out? 10 minutes? 5 hours?" He is suddenly gripped by the worst headache of his life. He touches his head. Blood. He hears a noise and looks up.

COLLINS' POV: His vision is blurry. A shape approaches.

Collins cowers, thinking his attackers are coming back.

COLLINS' POV: The figure walks into focus. The sweetest face a Latino drag queen ever had. Behind him, we see a metal sculpture of a Christmas Tree. And lights. This boy looks like and is, metaphorically speaking, an… ANGEL (21).

ANGEL  
_You okay, honey?_

COLLINS  
(Groans)  
_I'm afraid so._

Angel bends down to get a better look.

ANGEL  
_They get any money?_

COLLINS  
_No. Had none to get. But they purloined my  
__coat. Well, you missed a sleeve!_

Angel takes out a handkerchief and reaches out to clean off his head. Collins backs off. Shivers. But takes the handkerchief.

COLLINS (CONT'D)  
_Thanks._

ANGEL  
_Hell, it's Christmas Eve. I'm Angel._

He turns, faces Angel, who extends a hand.

COLLINS  
_Angel...  
_(their eyes meet)  
_Indeed. An angel of the first degree. Friends  
__call me Collins, Tom Collins. Nice tree._

ANGEL  
_Let's get a Band-Aid for your knee. I'll change.  
__There's a "Life Support" meeting at nine-thirty.  
_(nods)  
_Yes – this body provides a comfortable home  
__for the Acquired Immune Deficiency  
__Syndrome._

Collins is impressed by Angel's direct confession that he has HIV/AIDS. Collins warms.

COLLINS  
_As does mine._

ANGEL  
_We'll get along fine. Get you a coat, have a  
__bite, make a night. I'm flush._

COLLINS  
_My friends are waiting._

ANGEL  
_You're cute when you blush. The more the  
__merrier - ho ho ho._

They exchange a glance, there's a deep, intense attraction. Collins lifts the handkerchief, wipes the blood from his forehead. Angel takes the handkerchief from Collins' hand.

ANGEL (CONT'D)  
_And I do not take no._

Angel wipes the blood from Collins' head.

EXT. LOFT BUILDING ROOF – NIGHT

It's almost like Swiss Family Robinson – all of these makeshift bridges the kids made to connect the buildings.

The snow is falling quiet. Mark climbs up onto the roof and sees Roger on the opposite corner, looking down. Angry as shit. New York City surrounds them on all sides. The city lights sparkle. It's a beautifully clear, crisp New York night.

ROGER  
Did you know?

MARK  
Know what? What happened?

ROGER  
They got a new singer.

Mark sighs. Terrible news.

MARK  
Jesus Christ.

ROGER  
They said we had all this heat and they couldn't wait. They signed with RCA. Can you believe that shit?

Roger kicks a beer can. Mark sees a guy through a window in an adjacent building, playing his saxophone. He thinks.

MARK  
Hey listen, you know what. You can—

ROGER  
Mark, please. None of your positive shit tonight. I can't bear—

MARK  
What pos—

ROGER  
I saw 30 catharsis a day at Cornerstone from the same people who were going to cop on their way home. I've had my share.

MARK  
That's not what I'm talking about. It's like with my film. It's gone. So what? We don't have rent. What does food cost? I can make my own films. You can do the same.

ROGER  
Everything I own is in hock. My meds alone are 300 dol—

MARK  
So, I'll help you. Collins can set up a computer so you don't need a studio. You'll find a new band. Come on. It's me. Talk to me.

Roger is rigid. Silent.

MARK (CONT'D)  
Listen, whatever it is, it's killing you, so just—

ROGER  
It's April, alright? Does that make you happy? Should we "share" now?

MARK  
I know it's—

ROGER  
You don't know shit, Mark.

MARK  
She was my friend, too.

ROGER  
You don't understand. She didn't cheat on me. She didn't use. How do you think she got it?

Mark looks down. Roger holds himself rigid. He's not going to let himself cry. Mark listens. Sympathetic.

ROGER (CONT'D)  
If I could just do something, you know? The whole time in there I'm thinking about the band, and I thought, that's it. The doctor said my T-cells are in the toilet. A year. Two years. Whatever I have. Just to do something. To make up for this fucking waste.

Roger wipes his face. Back to angry. Under the following lines, we hear eight notes – guitar with delay. The beginning of "One Song Glory."

ROGER (CONT'D)  
I'm sorry.

MARK  
Hey.

ROGER  
You're the only optimistic person I can stand these days, you know?

MARK  
Yeah. I know. Feeling's mutual.

They smile, letting out the tension. Roger looks down at the tent city. Mark looks, too. He sighs and turns to leave. He's halfway across the roof before he looks back at Roger, questioning. At a loss for words, he shakes his head and goes back downstairs.

Roger walks to the far end of the rooftop, stands dangerously close to the edge. He sits down. CAMERA MOVES TOWARD Roger, as he sings.

ROGER  
_One song. Glory. One song. Before I go.  
__Glory. One song to leave behind. Find. One  
__song. One last refrain. Glory._

Roger's anger turns in on himself as he sings…

ROGER (CONT'D)  
_From the pretty boy front man who wasted  
__opportunity. One song. He had the world at  
__his feet. Glory. In the eyes of a young girl. A  
__young girl. Find..._

The song is building.

ROGER (CONT'D)  
_Glory. Beyond the cheap colored lights. One  
__song. Before the sun sets. Glory - on another  
__empty life. Time flies..._

The song peaks. CAMERA spins 360 degrees around Roger as he sings passionately. The city lights sparkle and blur behind him.

ROGER (CONT'D)  
_Time dies! Glory. One blaze of glory. One  
__blaze of glory. Glo-ry!_

INT. SUBWAY TRACKS – DUSK

A train hurtles toward us as the song continues.

INT. SUBWAY CAR – DUSK

Mark is sitting, reading a book about the film, "Rashomon." He looks across the car and sees a homeless man, filthy and asleep, taking up three seats. He goes back to the book.

ROGER (V.O.)  
_Find. Glory. In a song that rings true, truth  
__like a blazing fire._

INT. MAGNO SOUND – DUSK

Mark Cohen takes out his paycheck. Signs the back to Magno Sound. Hands it over to the CLERK. Who gives him a key.

ROGER (V.O.)  
_An eternal flame. Find. One song. A song  
__about love. Glory. From the soul of a young  
__man._

INT. MAGNO SOUND EDITING ROOM – DUSK

Mark strings up his rushes and runs them through an old Steenbeck. Shots of the party. Shots of Roger.

ROGER (V.O.)  
_A young man. Find. The one song. Before  
__the virus takes hold. Glory. Like a sunset.  
__One song. To redeem this empty life._

He stops the image on Roger, looks around to make sure no one is watching, and starts to cry. Mark Cohen's best friend is dying, and there's nothing he can do about it.

EXT. EAST VILLAGE PAWN SHOP – LATE MORNING

Roger, already walking, with a determined look in his eye, stops in front of the building.

ROGER (V.O.)  
_Time flies. And then no need to endure  
__anymore. Time dies!_

The song finishes, and all is quiet. Roger is visibly raw and vulnerable from his inner release. He enters the building.

INT. EAST VILLAGE PAWN SHOP – DAY

The pawn shop is as run down as its clientele. MR. ALEXI, 50, is filling out a ticket. AWHITE WOMAN, terribly thin and haggard, chews her nails waiting for him and her money.

They don't speak. Mr. Alexi hands her $100 with the ticket. The woman hands him a fur coat and turns, revealing Roger.

Mr. Alexi sees Roger and gives a quick smile. Roger was a regular. That's all the recognition Mr. Alexi will give.

Roger looks behind the chicken wire into the shop and sees it... a beautiful and worn red Gibson guitar (the one he played at CBGB's). Mr. Alexi sees Roger's wandering eye.

MR. ALEXI  
You have the money?

ROGER  
No. I need a job.

MR. ALEXI  
You can start tomorrow.


	5. You'll See, Today 4 U, Light My Candle

EXT. LOFT BUILDING – AFTERNOON

Mark, lost in thought, passes the tent city of homeless people. He looks up and sees Benny standing by his Range Rover in front of the building.

MARK  
Benny? Benny!

Benny waves.

INT. HIP SOHO RESTAURANT KITCHEN – AFTERNOON

Waitresses fly by, picking up plates, shouting out orders while the cooks work in sweat. One pretty waitress is on her coffee break, reading BACKSTAGE, circling possible auditions.

INT. HIP SOHO RESTAURANT – AFTERNOON

It's a swanky kind of place where everyone looks at everyone else to see if anybody is somebody. Benny is one of those people looking. Mark is looking at the menu.

BENNY  
Is that Madonna?

Mark looks, and then goes back to the menu.

MARK  
That's a man.

Benny nods. "Shit. You're right."

MARK (CONT'D)  
How in God's name can a grilled cheese sandwich cost 15 dollars?

BENNY  
Whatever you want. It's on me.

MARK  
Thanks, Benny. Party cleaned us out of food. We missed you last night.

Benny nods uncomfortably.

BENNY  
Yeah, sorry. Another investors meeting.

MARK  
Stiff?

BENNY  
Stiff and rich. But he's interested. Actually… ready to sign.

MARK  
That's great.

Benny nods. Tense. Hedging.

MARK (CONT'D)  
It's not great?

Benny doesn't know how to say it, so he just says it.

BENNY  
I need the rent, Mark.

Mark smiles at first until he realizes Benny isn't kidding. The waitress approaches.

WAITRESS  
May I help you gentlemen?

BENNY  
Shrimp scampi, please.

MARK  
Grilled cheese. To go. Thank you.

The waitress nods and leaves. Before Mark can speak…

BENNY  
Mark, you're the only one who's tried to set up anything. You know how these investors are. It doesn't exactly make me look business-like to give my friends a free ride.

Mark is speechless.

BENNY (CONT'D)  
You've had the place for a year. Didn't you save anything?

MARK  
Save for what? Roger just got out of rehab. Do you know what that cost? He had to hock everything.

BENNY  
I'm sorry about Roger.

MARK  
Or his AZT?

That's a very touchy trump card. Temper's rising.

BENNY  
I need the rent, Mark. First. Last. And security deposit. I don't know what else to tell you.

MARK  
He just lost his band. He's trying to rebuild his whole life. Sober. You should have seen him last night. I don't think he can take one more—

BENNY  
That's not my fault.

MARK  
But he's your friend. It's three days to Christmas. What the fuck is this? You said we were golden.

Benny's temper surfaces. Controlled.

BENNY  
I've been out there meeting these people, and it may come as a shock to you, but even with the best clothes, they still look at me like the nigger who married into the rich family. I finally found a few investors with some eyes as to my potential, but they also see you living free, so I tell them about your potential, and you know what they say?

Mark is silent. Doesn't like where this is going.

BENNY (CONT'D)  
"A junkie songwriter and a guy whose film fell apart."

Mark looks down. That hurt.

MARK  
Is that what you think?

BENNY  
Me? No. I started to come to your defense, and that's when they told me about your little protest—

MARK  
What?

BENNY  
(angry)  
It doesn't make me look good, Mark.

MARK  
What are you talking about?

BENNY  
Maureen's protest. About evicting the homeless from the lot next door. You're her stage manager.

MARK  
We broke up.

BENNY  
You didn't plan it?

MARK  
No. Why are you going to evict them?

BENNY  
The block's been rezoned. I'm going to build condos for the studio. Can you talk to her?

MARK  
I don't want to see Maureen.

BENNY  
We could do a thing where I give you the money every month for the rent, so it looks to my investors like you're paying.

MARK  
If I talk her out of her protest?

BENNY  
So, what do you think?

MARK  
I think you should look for new investors.

Benny sighs. Mark persists.

MARK (CONT'D)  
I met with these kinds of people before. $20,000 if I cast their girlfriend or change the ending.

BENNY  
I'm talking about 15 million.

The waitress brings the food. The guys put on a nice face for her. She leaves. The face drops.

MARK  
If you get into bed with this guy, what is he going to ask for next year? It'll never be the studio you want.

BENNY  
There are no other investors.

MARK  
There are. You just have to keep—

BENNY  
I'm not going to let my studio fall apart like your film did.

Mark looks down. Insulted. Angry.

MARK  
Just give us a month. We'll find the rent.

BENNY  
The protest is in two days.

MARK  
Is that all this is about? Why don't you just get an injunction or call the cops?

BENNY  
I did, and they're on standby, but my investors would like to handle this quietly.

MARK  
What's happening to you?

Benny is offended, but stays calm.

BENNY  
I'm growing up, Mark. And since you're the only one in the group that has a chance to do the same, I suggest you start. You happy making these little movies? That's cool. Ask yourself if you're going to be happy doing it 15 years from now.

EXT. TENT CITY – DUSK

We hear "You'll See" being played on a cheap acoustic guitar as we see quick images of the homeless outside. Eating discarded Chinese food containers. Pizza boxes.

RED SCARF puts the money he made for the day in his shoe. SANTA CLAUS is looking at want ads in a discarded paper. GREEN CAP is getting warm with vodka.

INT. MARK AND ROGER'S LOFT – DUSK

We are close on a trash can, burning. Collins is warming his hands. Roger is playing "You'll See" on the cheap acoustic guitar. We pull out to reveal that we are not outside anymore, but in the loft. The trash can is their only means of heat.

Collins stops warming his hands and begins trimming a small Christmas tree, using the Star of David as the angel on top. He nods to Roger playing the guitar.

COLLINS  
It's nice.

ROGER  
Not bad for a ten dollar special. Thanks, Collins.

COLLINS  
Yeah, your music has a certain Caucasian quality. Can't put my finger on it.

Roger starts laughing. Throws his guitar pick at Collins.

ROGER  
Fuck you.

Collins laughs. Then, the door opens and Mark walks in, looking sad and worried. He is the bearer of bad news.

COLLINS  
There he is!

Mark lights up.

MARK  
Hey!

The two friends hug big.

MARK (CONT'D)  
I thought I was seeing you tomorrow.

COLLINS  
Couldn't wait. You look good.

MARK  
You, too.

They let go. Mark throws a doggie bag over to Roger.

MARK (CONT'D)  
A gift from Benny.

ROGER  
How is our young mogul?

Mark hedges. He doesn't know how to say it.

MARK  
Good. He's good.

Then Mark takes in what's on the table. Saved by the bell. Cafe Bustelo. Fresh bananas. Captain Crunch. Marlboros. Stoli. He picks up the goodies, ecstatic.

MARK (CONT'D)  
Whoa, check this out, man, it's a Christmas feast!

ROGER  
They even brought firewood for the stove.

MARK  
"They"?

And then from the kitchenette…

ANGEL (V.O.)  
(excited)  
Is that Mark Cohen?

Mark turns.

MARK  
Is that Angel Dumott Schunard?

Angel comes out of the kitchenette… in full drag. The sweet faced boy is now a gorgeous lady. In an apron. With oven mitts. Mark stares for a beat.

ANGEL  
How do I look?

MARK  
I love your oven mitts.

ANGEL  
I know. A total cliché, right? Well, fuck it. I know how to cook.

Mark smiles. Looks around. Still hedging.

MARK  
So, what's going on?

Angel approaches, chattering her ass off.

ANGEL  
Well, Roger wants to write one great song, which I think is a lovely plan, but he won't be able to get his old Gibson back for a week or so. He didn't even have money for food until we came along. We brought your favorite… Cap'n Crunch.

Mark looks at Roger over Angel's shoulder.

MARK  
But I don't eat—

ROGER  
My advice… just go with the flow.

MARK  
Where did you get this stuff?

Angel holds up a plastic pickle tub and drums a beat on it, then pours a stack of bills out of it, picking up a fan of them in each hand. "Today 4 U" begins.

ANGEL  
_Today for you, tomorrow for me. Today for  
__you, tomorrow for me._

Angel hands Mark a $100 bill and hugs him.

COLLINS  
_And you should hear her beat!_

MARK  
_You earned this on the street?_

Angel begins to dance around the loft, telling her story.

ANGEL  
_It was my lucky day today on Avenue A, when  
__a lady in a limousine drove my way. She said,  
_"_Dahling, be a dear. Haven't slept in a year. I  
__need your help to make my neighbor's yappy  
__dog disappear. This Akita, Evita, just won't  
__shut up. I believe if you play non-stop that  
__pup, will breathe its very last high-strung  
__breath. I'm certain that cur will bark itself to  
__death."_

Angel continues to wildly dance around the apartment. The boys are taken with her incredible energy.

ANGEL (CONT'D)  
_Today for you, tomorrow for me. Today for  
__you, tomorrow for me._

Angel beats on the pickle tub, and then hands it to Mark, who continues drumming on the tub.

ANGEL (CONT'D)  
_We agreed on a fee, a thousand dollar  
__guarantee. Tax free. And a bonus if I trim her  
__tree. Now who could foretell that it'd go so  
__well, but sure as I am here, that dog is now in  
__doggy hell. After an hour, Evita, in all of her  
__glory on the window ledge of that 23rd story.  
__Like Thelma and Louise did when they got the  
__blues, swan dove into the courtyard of the  
__Gracie Mews._

The boys double over with laughter. Angel continues her performance.

ANGEL (CONT'D)  
_Today for you, tomorrow for me. Today for  
__you, tomorrow for me._

Angel whips out a pair of drumsticks from her belt. She does a fabulous drum and dance solo, throughout the loft.

ANGEL (CONT'D)  
(to Collins)  
_Back on the street where I met my sweet,  
__where he was moaning and groaning on the  
__cold concrete. The nurse took him home for  
__some Mercurochrome, and I dressed his  
__wounds and got him back on his feet._

The boys are now on their feet, joining in Angel's infectious, celebratory dance number.

ANGEL (CONT'D)  
_Sing it! Today for you, tomorrow for me.  
__Today for you, tomorrow for me! I said...  
__Today for you, tomorrow for me! Today for  
__you, tomorrow... whoa, oohhh... for me!_

The boys applaud. Angel holds her hands in the air and bows. Roger and Mark walk up to her. Each takes a hand. And kisses.

ANGEL (CONT'D)  
Now, who wants churros y chocolate?

MARK  
But I don't eat—

Angel dashes off to the kitchenette. Mark looks at Collins.

MARK (CONT'D)  
So, how have you been?

COLLINS  
Pretty good, man.

MARK  
No shit.

Mark holds up the $100 bill and sits down with Roger and Collins. Smiles all around.

COLLINS  
Do you think it would be okay if we crashed here for a while?

ROGER  
No problem.

COLLINS  
Mark?

Mark is thinking about Benny.

COLLINS (CONT'D)  
Something wrong?

MARK  
No. Nothing. Of course you can stay.

ANGEL  
(exiting the kitchenette)  
Well, we can't stay long. We have an appointment.

COLLINS  
Anyone who wants to can come along.

ROGER  
Where?

ANGEL  
Life Support meeting.

ROGER  
On Christmas?

ANGEL  
Some people don't have anywhere else to go tonight.

They look at each other knowingly. No shit. Angel extends her hand to Roger.

ANGEL (CONT'D)  
Come on.

ROGER  
I'll pass.

ANGEL  
Life Support's a group for people coping with life. You don't have to stay too long.

ROGER  
I'm not much company.

COLLINS  
Mark?

MARK  
(raises his camera)  
Could I shoot some film?

Collins and Angel exchange a shrug, shouldn't be a problem.

MARK (CONT'D)  
Okay.

Suddenly, the lights go out.

ROGER  
(stating the obvious)  
Shit! The power's out!

Roger goes off to look for the fuse box, but Mark knows Benny cut the power.

COLLINS  
(before Mark can explain)  
Well, while you attend to that, we're gonna take off. If you want, you can meet us there. C'mon, Mark.

Roger grunts in response. Mark puts on his coat, exits with Collins and Angel.

**TIME DISSOLVE TO:**

INT. LOFT – NIGHT

The candles are freshly lit, in anticipation of nightfall. By contrast, the fire is dead in the stove. The loft is illuminated by the magical blue moonlight. Roger sits on the table, guitar in hand, trying to force the muse to oblige him. There's a KNOCK at the door. Roger goes over to answer it. "Light My Candle" begins.

ROGER  
_How was the trip?_

Roger opens the door. Meet MIMI MARQUEZ, a beautiful Latino girl (19). On the surface, Mimi is a breath of fresh air. Underneath, there's something troubled. A kid who needs attention and uses what she has to get it… namely, sex. She holds up a red candle. Her hands are thin and cold.

MIMI  
_Got a light?_

ROGER  
_I know you. You're... you're shivering._

MIMI  
_It's nothing. They turned off my heat. And I'm  
__just a little weak on my feet. Would you light  
__my candle?_

Mimi steps into the moonlight that shines through the window. Roger is taken aback. There's something familiar about her. He stares.

MIMI (CONT'D)  
_What are you staring at?_

ROGER  
_Nothing. Your hair in the moonlight. You look  
__familiar._

Mimi looks at the moonlight through the window. Turns back.

MIMI  
Hair in the moonlight? You rock.

Roger strikes a match, lights her candle. Mimi starts to leave, but stumbles, a bit weak.

ROGER  
_Can you make it?_

MIMI  
_Just haven't eaten much today. At least the  
__room stopped spinning. Anyway._

Roger is still staring.

MIMI (CONT'D)  
_What?_

ROGER  
_Nothing. Your smile reminded me of—_

MIMI  
_I always remind people of— Who is she?_

ROGER  
_She died. Her name was April._

Roger looks away. Mimi discreetly blows out the candle.

MIMI  
_It's out again. Sorry about your friend. Would  
__you light my candle?_

Roger lights the candle again. They linger, awkwardly.

ROGER  
_Well—_

MIMI  
_Yeah. Ow!_

ROGER  
_Oh. The wax. It's—_

MIMI  
_Dripping! I like it between my—_

ROGER  
_Fingers. I figured. Oh, well. Good day._

Mimi exits. Roger heads back toward his guitar on the table. There is anotherknock. Roger answers.

ROGER (CONT'D)  
_It blew out again?_

MIMI  
_No. I think that I dropped my stash._

ROGER  
_I know I've seen you out and about. When I  
__used to go out. Your candle's out._

MIMI  
_I'm illin'. I had it when I walked in the door. It  
__was pure. Is it on the floor?_

Mimi gets down on all fours and starts searching on the floor for her stash. She looks back to Roger, who is staring at her again.

MIMI (CONT'D)  
_They say that I have the best ass below 14th  
__Street. Is it true?_

ROGER  
_What?_

MIMI  
_You're staring again._

ROGER  
_Oh, no. I mean you do... have a nice... I  
__mean... you look familiar._

MIMI  
_Like your dead girlfriend._

ROGER  
_Only when you smile. But I'm sure I've seen  
__you somewhere else..._

MIMI  
_Do you go to the Cat Scratch Club? That's  
where I work. I dance. Help me look. _

ROGER  
_Yes! They used to tie you up._

MIMI  
_It's a living._

Mimi douses the flame again.

ROGER  
_I didn't recognize you without the handcuffs._

MIMI  
_We could light the candle. Oh, won't you light  
__the candle?_

Roger lights it again.

ROGER  
_Why don't you forget that stuff? You look like  
__you're sixteen._

MIMI  
_I'm nineteen. But I'm old for my age. I'm just  
__born to be bad._

ROGER  
_I once was born to be bad. I used to shiver  
__like that._

MIMI  
_I have no heat. I told you._

ROGER  
_I used to sweat._

MIMI  
_I got a cold._

ROGER  
_Uh-huh. I used to be a junkie._

MIMI  
_But now and then I like to—_

ROGER  
_Uh-huh._

MIMI  
_Feel good._

Roger stumbles over something that feels like her stash, but…

MIMI (CONT'D)  
_What's that?_

ROGER  
(holds it up, his mistake)  
_Candy bar wrapper._

MIMI  
_We could light the candle._

Roger discreetly blows out the candle.

MIMI (CONT'D)  
_What'd you do with my candle?_

ROGER  
_That was my last match._

MIMI_  
Our eyes'll adjust. Thank God for the moon._

ROGER_  
Maybe it's not the moon at all. I hear Spike  
Lee's shooting down the street._

MIMI_  
Bah humbug. Bah humbug.  
_

Mimi places her hand under his, pretending to do it by mistake_._

ROGER  
_Cold hands._

MIMI  
_Yours too. Big. Like my father's. You wanna_  
_dance?_

ROGER  
_With you?_

MIMI  
_No. With my father._

ROGER  
_I'm Roger._

MIMI  
_They call me. They call me... Mimi._

They come extremely close to a kiss. Roger smiles to himself. He likes this girl. Then, reality sets in (Roger knows he has AIDS, and nothing can come of this; Mimi...well, you'll find out). Mimi hurries out. Roger's smile fades. His face turns hard, empty. He's resigned to his fate. He turns, walks back to the table and picks up his guitar. He settles into a night of wrestling with the muse once more.


	6. Life Support and Roger at Work Sequence

EXT. LOWER EAST SIDE ELEMENTARY SCHOOL – NIGHT

A FILTHY MAN begs for change. He is ignored. While wealthy folks and guilty kids throw money into a Salvation Army tin while a man in a Santa Suit rings his bell. A sign on the door: AIDS LIFE SUPPORT GROUP. MEETING TONIGHT. MUSIC ROOM. We hear the beginning of "Life Support." Guitar. Piano.

INT. ELEMENTARY SCHOOL MUSIC CLASSROOM – NIGHT

During the school year, this is a music classroom for children. Their drawings hang on the walls, showing their impressions of a life in the city. Mark hurriedly enters, bumping into a few of the others.

MARK  
Sorry… excuse me… oops.

Each person takes his or her seat in a semi-circle as the song breaks into different people stating their names.

VOICES (O.S.)  
_Steve. Gordon. Ali. Pam. Sue. Hi, I'm  
__Angel. Tom... Collins._

The group is made of people who have nothing in common except HIV. The names all belong to real folks. Different ages. Genders. Races. PAUL, a generous man, is their leader.

PAUL  
I'm Paul. Let's begin.

The piano and guitar join as everyone begins to sing. It's a beautiful choral number.

LIFE SUPPORT GROUP  
_There's only us. There's only this…_

Someone has pointed out Mark, set up in the corner, his camera running. A ripple has spread through the group and everyone turns to look at him, interrupting the song.

PAUL  
And you are?

MARK  
(nervously)  
Oh, I'm not... I'm just here to... I don't have... I'm here with, ummm... Mark. Mark. I'm Mark! Well, this is quite an operation.

Paul nods.

PAUL  
Make yourself comfortable, Mark. We'll continue with the affirmation.

LIFE SUPPORT GROUP  
_Forget regret, or life is yours to miss..._

GORDON, late twenties, breaks from the group, speak singing.

GORDON  
_Excuse me, Paul. I'm having a problem with  
__this... this credo. My T-cells are low. I regret  
__that news, alright?_

Mark is confused. He keeps watching, filming.

PAUL  
_Alright. But Gordon... how do you feel tonight?_

GORDON  
_What do you mean?_

PAUL  
_How do you feel tonight?_

GORDON  
_Okay._

PAUL  
_Is that all?_

GORDON  
_Best I've felt all year._

PAUL  
_Then, why choose fear?_

GORDON  
_I'm a New Yorker. Fear's my life._

Mark smiles at the little joke, and then the speak singing stops, and a beautiful and sad melody takes over.

GORDON (CONT'D)  
_Look, I find some of what you teach suspect  
__because I'm used to relying on intellect. But I  
__try to open up to what I don't know._

Mark looks, suddenly moved by what Gordon is saying. In Mark's POV, Gordon's face MORPHS into Roger for the next line.

ROGER & GORDON  
_Because reason said I should have died three  
__years ago._

Roger's face fades back into Gordon. Mark is thinking of Roger when the entire group takes over the beautiful melody.

LIFE SUPPORT GROUP  
_No other road. No other way. No day but  
__today._

We are close on Mark as the song ends.

INT. ELEMENTARY SCHOOL MUSIC CLASSROOM – LATER

Paul is handing out Xeroxed schedules to all people in the group, who are too busy chatting to pay attention.

PAUL  
We have Beth Israel the 3rd of January. And ACT UP a week after that. Also, we need new music, so anyone has any ideas, call my service. And pick up your god damn cups people. Jesus.

Mark looks at Collins laughing with Angel. And the other people in the room, chatting and social. Someone taps his shoulder. He turns to find…

JOHN, on the outside, a tough-looking black dude from Alphabet City. On the inside, a prankster.

JOHN  
Hey kid… you're here with Angel, right? Making a film?

MARK  
Ah, yes. Yes, sir.

JOHN  
What do you think?

MARK  
It's very moving.

JOHN  
You have HIV?

MARK  
No, I don't.

JOHN  
You want it?

Mark looks tense until… John bursts out laughing. Angel gives John the "tsk tsk" look. Collins smiles. Mark laughs. The joke was on him.

INT. PAWN SHOP – THE NEXT DAY

Mr. Alexi is on the phone. His conversation hushed. Roger glances at him, and then hands twenty dollars to a THIN JUNKIE BOY, not even 17, in exchange for a CD Boom Box. Roger sees the boy leave and shakes his head. Mr. Alexi hangs up.

MR. ALEXI  
I have to go. One hour. You're okay. Yes?

ROGER  
Sure.

MR. ALEXI  
If you steal something, I'll know.

Mr. Alexi leaves the store in a hurry. Roger looks around. No customers, so he turns to the holding pen.

He looks at an amplifier. Dusty. He looks at his guitar. Squints. Roger grabs his guitar. Plugs in. Tries to find the chords. He defiantly picks out "Musetta's Theme" from Puccini's _La Boheme_, but the guitar is out of tune. Not believing his bad luck, he plays the string again, confirming it is out of tune. Frustrated, he takes off the guitar and turns around to find…

Mimi smiling her ass off.

MIMI  
God damn, that was hot! I'm not saying that so you'll give me a good price or nothing neither. No shit. You in a band?

Roger isn't pleased about his space being invaded.

ROGER  
Not right now. How long have you been—

MIMI  
That's too bad. You should be. You go to these clubs you know and it's all doom and gloom and I'm so bored and I don't want to be famous, and I'm like sure yeah, I hear ya, but I'd just like them to admit that deep down it's just tits ass and money cock rock, and what's the big fucking deal anyway? Motown was the shit, and you hear them crying about being famous and getting blow jobs? Don't think so.

Roger doesn't smile.

ROGER  
Can I help you?

Mimi smiles and approaches the counter. She shivers.

MIMI  
Why are you so grumpy?

ROGER  
I thought I was alone. Still shivering, I see.

MIMI  
That's because you're gorgeous. Just kidding.

Mimi puts an antique silver pocket watch on the counter. Roger gives her the "look."

MIMI (CONT'D)  
No, I didn't steal it. It was my grandfather on my mother's side. He was nice. Got hurt in the factory. Very sad. You know what he said once? That a man with a job is a hero to someone. That's pretty fucking deep wouldn't you say? He died last spring.

ROGER  
Oh, I'm sorry.

MIMI  
Thank you. Me, too.

Roger is thrown by Mimi's logic. Mimi smiles. Roger brings the watch back to the holding area. Mimi stares at his ass. Roger opens the watch and sees a little baggie of cocaine hidden inside. He stares at it for a beat. Then, he turns to Mimi.

ROGER  
Let me guess. The last place you'd have ever looked. You gonna hock this, too?

MIMI  
(laughs)  
Oh, shit.

Mimi holds out her hand for the bag. Defensive. Shivers.

MIMI (CONT'D)  
Come on. Pony up.

Off his stare…

MIMI (CONT'D)  
We had a nice thing going there, and now you're being the junkie Grinch.

ROGER  
All I'm saying is that I pawned a lot more than my grandfather's watch for this shit, and I wish I hadn't. That's all.

Roger hands her the dope, 100 bucks, and a ticket for the watch. Mimi looks at it. Leans on the counter.

MIMI  
What are you doing tonight?

ROGER  
Working.

MIMI  
You want some company?

ROGER  
No, thanks.

MIMI  
Okay, then.

Mimi turns and walks out of the store. Roger gives a quick glance to her ass in spite of himself. She turns. He sighs. Mimi smiles.


	7. Out Tonight, Another Day

INT. LOFT – LATER – NIGHT

Roger sits at his spot on the table, working on a song. The door bursts open. Mark enters, flanked by a determined Angel and Collins. They move toward Roger. Mark takes away Roger's guitar. Angel and Collins each grab one arm and pull Roger to the door.

ROGER  
Hey. Wait a— What're you doing?

COLLINS  
Taking you to dinner.

ROGER  
(struggles)  
Guys. No. I don't feel like-

MARK  
You need to get out.

They drag him out the door.

EXT. ROCKEFELLER CENTER – NIGHT

The huge Christmas tree. Ice skaters. Gorgeous. Roger stands, impatient. Angel, Mark, and Collins are staring at a group of homeless street performers. Three men and two women with a boom box and gorgeous voices, singing "Christmas Bells."

FIVE HOMELESS PEOPLE  
_Can't you spare a dime or two? Here but for  
__the grace of God go you. You'll be merry._

ROGER  
Guys, it's been great, but I want to get back to-

COLLINS & ANGEL  
Shhh.

Roger turns to watch the performers.

FIVE HOMELESS PEOPLE  
_I'll be merry though merry ain't in my  
__vocabulary... no sleigh bells. No Santa Claus.  
__No Yule log._

ROGER  
I want to work.

ANGEL  
You're too serious.

FIVE HOMELESS PEOPLE  
_No tinsel. No holly. No hearth. No…_

A male soloist steps forward, turning his fingers into deer antlers.

MALE SOLOIST  
_Rudolph the red nosed reindeer._

His deer antlers become two middle fingers as no one stops to give them change. Angel smiles. Delighted.

FIVE HOMELESS PEOPLE  
_Rudolph the red nosed reindeer. No room at  
__the Holiday Inn. Oh no!_

They all look up as the snow falls.

FIVE HOMELESS PEOPLE (CONT'D)  
_And it's beginning to snow._

Angel smiles.

ANGEL  
God damn, I love this town.

COLLINS  
Let me get this one.

Collins walks across the street to give money to the homeless performers. Roger turns to Angel and Mark.

ROGER  
If I stay out with you guys tonight, will you leave me alone?

ANGEL  
Scout's honor.

MARK  
You were never a scout.

ANGEL  
And a brownie… until some brat got scared.

ROGER  
Okay. Where do you want to go for dinner?

INT. THE CAT SCRATCH CLUB – NIGHT

A smoky room crowded with a mostly male clientele and girls, girls, girls. Handcuffs. Leather. Whips. Cages. The dancers are peppered throughout the crowd, conning desperate men into buying drinks. Roger sits with Collins, Angel, and Mark near the front of the runway, looking bored. A middle aged BUSINESS MAN, sitting near them, makes eyes at Angel, thinking Angel is a woman. Angel flirts right back at him while Collins talks to the SEX KITTEN WAITRESS.

COLLINS  
Stoli please. Roger?

Roger shrugs. He doesn't care.

COLLINS (CONT'D)  
Give him a Sam Adams.

The waitress bends to Angel.

SEX KITTEN WAITRESS  
And for the lady?

ANGEL  
Cosmopolitan. Please. Those are lovely handcuffs.

SEX KITTEN WAITRESS  
Thank you.

The waitress leaves.

ROGER  
Guys… no offense, but this is a weird place for two gay men to hang out. And last I checked, they don't serve food here. What's going on?

ANGEL  
Oh, this is for you, honey.

COLLINS  
Yeah. Just enjoy.

Collins and Angel look at each other. And laugh. Roger is confused.

ROGER  
What?

Suddenly, the conspiracy dons on Roger.

ROGER (CONT'D)  
Oh. You bastards.

Angel points at the stage. Just then, the place blacks out.

ANNOUNCER  
Gentlemen... please give a warm welcome to... Mimi!

The stage curtains OPEN. A huge scaffolding is set up. It looks like a fire escape. Gorgeous metal and faux brick. One spotlight shines at the top of the scaffolding. The hard and sexy guitar lick of "Out Tonight" starts as MIMI steps into the spotlight. The men go crazy. Angel starts clapping, excited. Roger is like stone.

MIMI  
_What's the time? Well, it's got to be close to  
__midnight. My body's talking to me. It says,  
__"__It's time for danger."_

Mimi sings in a raspy voice as she slinks in and out of the scaffolding. On stage, her girlish real life manner is dropped. She's amazing to watch. Tough, edgy and incredibly sexy. She rules this stage. Several OTHER DANCERS appear on the scaffolding, dancing in synch with Mimi.

MIMI (CONT'D)  
_It says, "I want to commit a crime. Wanna be  
__the cause of a fight. Wanna put on a tight skirt  
__and flirt with a stranger."_

Mimi starts grooving down the stairs. She undoes her hair clip and her brown hair falls. She begins to shake glitter out of it. It fills the smoky air of the club. Roger finds himself watching, reluctant.

MIMI (CONT'D)  
_I've had a knack from way back at breaking  
__the rules once I learned the games. Get up -  
__life's too quick. I know someplace sick where  
__this chick'll dance in the flames._

Mimi strides the cat walk. All legs. Silhouette.

MIMI (CONT'D)  
_We don't need any money. I always get in for  
__free. You can get in too if you get in with me.  
__Let's go..._

Mimi walks up to Roger. Throws off her silk bathrobe. All tight blue leather underneath. Angel claps. Delighted.

MIMI (CONT'D)  
_Out tonight! I have to go out tonight. You  
__wanna play let's run away we won't be back  
__before it's Christmas day. Take me out  
__tonight._

Mimi drapes her robe across Roger's head. He's not budging.

MIMI (CONT'D)  
_Meow._

All the men laugh and cheer. She turns.

MIMI (CONT'D)  
_When I get a wink from a doorman, do you  
__know how lucky you'll be that you're on line  
__with the feline of Avenue B? Let's go out  
__tonight. I have to go out tonight._

Mimi turns and strides back towards Roger. From our angle, he looks like a sitting duck.

MIMI (CONT'D)  
_You wanna prowl? Be my night owl? Well  
__take my hand we're gonna howl out tonight._

Mimi stands on his table. She bends at the knees and brings her lips centimeters from his. She's egging him to kiss her. He's not moving. It's fucking hot, people.

MIMI (CONT'D)  
_In the evening I've got to roam. Can't sleep in  
__this city of neon and chrome. Feels too damn  
__much like home when the Spanish babies  
__cry._

Angel looks at Mimi. Damn. You go, girl. Mimi gazes dead straight at Roger. Angry and sexy and fucking fearless.

MIMI (CONT'D)  
_So, let's find a bar so dark we forget who we  
__are. And all the scars from the nevers and  
__maybes die!_

Mimi jumps back up on the cat walk. She gestures for Angel to join her. Angel smiles. Looks at Collins, who nods. "Go for it." Angel then looks over at the businessman, who nods fervently. Angel gets an idea. She gets on the stage.

MIMI (CONT'D)  
_Let's go out tonight. Have to go out tonight.  
__You're sweet, wanna hit the street? Wanna  
__wail at the moon like a cat in heat? Just take  
__me out tonight._

Angel and Mimi both dance for their men. Angel is simply amazing. What she can do with two chairs, a table, and three inch spike heels is beyond description. The guys in the club go insane for her.

MIMI (CONT'D)  
_Please take me out tonight._

Mimi and Angel strip off their stockings.

MIMI (CONT'D)  
_Don't forsake me – out tonight._

They unclasp their bras. The businessman is dying for Angel.

MIMI (CONT'D)  
_I'll let you make me – out tonight!_

Angel throws off her dress.

MIMI (CONT'D)  
_Tonight!_

The men cheer.

MIMI (CONT'D)  
_Tonight!_

Mimi's bra drops along with Angel's. We see them from behind. Two bare assed ladies.

MIMI (CONT'D)  
_Tonight!_

The men cheer… and then look at Angel. The crowd is stunned silent. Peekaboo. The businessman looks shocked. Angel winks at him.

EXT. CAT SCRATCH CLUB – NIGHT

The five of them exit the club. Collins, Angel, and Mimi are laughing. Roger looks pissed. Mark looks at Roger with concern.

COLLINS  
You sent that poor man to therapy. You know that?

Roger walks on ahead. He's furious.

MIMI  
So, where do we want to go?

ANGEL  
How about ice skating? Let's be tourists. Roger?

Roger is silent.

ANGEL (CONT'D)  
Roger?

Mark turns to Angel and shakes his head, warning her to go no further, but too late. Roger spins. Glares at all of them.

ROGER  
Angel… you're one of the sweetest people I've ever met. And I know you mean well. But… please, do me a favor and stay out of my fucking business.

Angel's face goes from smiling to shocked. And sad.

COLLINS  
Hey, Roger.

Mark makes the motion to shush Collins. Roger needs to get this out.

ROGER  
You two found each other. I'm happy for you. But please save this love mercenary shit for your Life Support meetings. It takes all of my energy just to stay sober. There's a fucking dealer across the street, and the only time I don't think about going over there is when I'm working on music. Okay? I don't need the distraction. Thank you.

Roger turns to Mimi. He wants to say it's nothing personal. He wants to say he likes her. He wants to confess about his HIV and April, but he can't even get a word out. So, he just turns and storms off.

INT. ROGER AND MARK'S LOFT – NIGHT

Roger is in the loft, listening to the music at a deafening volume. Playing along. Trying to blot out the world. The music is an angry instrumental opening of "Another Day."

The door opens. Roger turns, expecting Collins or Angel or Mark. Instead, he finds Mimi. Looking quite upset and vulnerable. Roger is beyond angry.

MIMI  
Roger. Look-

As Roger and Mimi sing at each other, we'll see quick flashes of their past, so that by the end, it's like their baggage is screaming at the other. Every reason they have to not be together and every reason why they need to be.

QUICK FLASHES... Roger is playing a gig. He locks eyes with a girl. April. She's young and bright eyed. They smile.

INT. ROGER AND MARK'S LOFT – NIGHT

Roger gets right into Mimi's face. Angry. Singing…

ROGER  
_Who do you think you are? Barging in on me  
__and my guitar? Little girl – hey..._

QUICK FLASH... Roger and April are walking through Tompkins Square Park. It's spring.

ROGER (CONT'D)  
_The door is that way. You better go you know.  
__The fire's out anyway. Take your powder._

QUICK FLASH... Roger sees his dealer in Tompkins Square Park over April's shoulder.

ROGER (CONT'D)  
_Take your candle. Your sweet whisper, I just  
__can't handle. Well, take your hair out of the  
__moonlight. Your brown eyes – goodbye,  
__goodnight!_

Roger points to the door. Mimi flinches. Roger turns.

QUICK FLASHES... Roger and April take the train. She drags him to her nice suburban home. She introduces him to her sweet mom. And dad – who gives Roger a mistrusting glance.

ROGER (CONT'D)  
_I should tell you. I should tell you._

QUICK FLASH... Roger doing heroin with some A kids.

ROGER (CONT'D)  
_I should tell you. I should – no!_

He turns back around.

ROGER (CONT'D)  
_Another time. Another place. Our  
__temperature would climb. There'd be a long  
__embrace._

QUICK FLASH... Roger and April making love.

ROGER (CONT'D)  
_We'd do another dance. It'd be another play.  
__Looking for romance? Come back another  
__day. Another day._

Mimi steps forward. She's singing a continuation of the melody we heard in the Life Support meeting.

MIMI  
_The heart may freeze or it can burn. The pain  
__will ease if I can learn._

QUICK FLASH... Mimi is sitting on a sofa. Her father is screaming at her. Drunk.

MIMI (CONT'D)  
_There is no future. There is no past. I live this  
__moment as my last._

QUICK FLASH... Mimi's father slaps her across the face.

MIMI (CONT'D)  
_There's only us. There's only this. Forget  
__regret or life is yours to miss._

QUICK FLASH... Her father is still yelling. Mimi is crying. She looks at her mother, who only turns away. Frightened.

MIMI (CONT'D)  
_No other road. No other way. No day but  
__today._

Roger answers the affirmation with…

ROGER  
_Excuse me if I'm off track, but if you're so wise,  
__then tell me why do you need smack?_

QUICK FLASH... Roger is fucked up on heroin. April is crying, begging him to stop using.

ROGER (CONT'D)  
_Take your needle. Take your fancy prayer.  
__And don't forget – get the moonlight out of your  
__hair._

QUICK FLASH... Roger leaves April, just crying there.

ROGER (CONT'D)  
_Long ago, you might've lit up my heart. But  
__the fire's dead. Ain't never ever gonna start._

QUICK FLASH... April is with the CLINIC DOCTOR, a kind, older man. She turns ashen when he tells her the news.

ROGER (CONT'D)  
_Another time. Another place. The words  
__would only rhyme. We'd be in outer space.  
__It'd be another song. We'd sing another way._

QUICK FLASH... Roger finds April dead in the bathroom.

ROGER (CONT'D)  
_You wanna prove me wrong? Come back  
__another day. Another day._

Roger turns his back on her. Sitting on the sofa. Shaking with anger. She reaches out to him. Desperate.

QUICK FLASH... Mimi leaves home with her suitcase.

MIMI  
_There's only yes. Only tonight. We must let  
__go. To know what's right._

QUICK FLASH... Mimi walking around the East Village with the suitcase. Wandering and lost.

MIMI (CONT'D)  
_No other course. No other way. No day but  
__today._

QUICK FLASH... Mimi gets pulled into an alley way by a MAN in shadow.

Their melodies begin to trade off, pushing each other.

MIMI  
_I can't control._

ROGER  
_Control your temper._

MIMI  
_My destiny._

ROGER  
_She doesn't see._

QUICK FLASH... Mimi crying as the MAN in shadow rapes her.

MIMI  
_I trust my soul._

ROGER  
_Who says that there's a soul?_

QUICK FLASH... Roger cleaning up the blood in the bathroom.

MIMI  
_My only goal is just to be!_

ROGER  
_Just let me be._

The clash of melodies builds to a counterpoint. Two sides of the same coin. The same fears. The same desires.

MIMI  
_There's only now._

ROGER  
_Who do you think you are?_

QUICK FLASH... April's funeral. April's mother is crying. April's father gives Roger a look of death.

MIMI  
_There's only here. Give in to love or  
__live..._

ROGER  
_Barging in on me and my guitar._

QUICK FLASH... Mimi wakes up in the alleyway bruised.

MIMI  
_...in fear. No other path._

ROGER  
_Little girl, hey –_

QUICK FLASH... Roger apologizes to April's parents. They simply turn awayfrom him. Cold. He's weeping.

MIMI  
_No other way._

ROGER  
_The door is that way._

QUICK FLASH... Mimi goes to the same CLINIC DOCTOR that saw April.

MIMI  
_No day but today._

ROGER  
_The fire's out anyway._

The song is building. We hear more than their two voices singing now. It's like their past and all that baggage is echoing. The entire company singing with them as Mimi persists and Roger resists.

QUICK FLASH... Roger goes to the same CLINIC DOCTOR.

MIMI (CONT'D)  
_No day but today._

QUICK FLASH... the clinic doctor gives Mimi the bad news.

ROGER  
_Take your powder. Take your candle._

QUICK FLASH... the clinic doctor gives Roger the bad news.

MIMI  
_No day but today._

QUICK FLASH... Mimi crying in the doctor's office.

ROGER  
_Take your brown eyes, your pretty smile, your  
__silhouette._

QUICK FLASH... Roger taking the doctor's news stone faced.

MIMI  
_No day but today._

QUICK FLASH... Mimi walks into a support group meeting.

ROGER  
_Another time. Another place. Another rhyme.  
__A warm embrace._

QUICK FLASH... Roger withdrawing in rehab. It's hell.

MIMI  
_No day but today._

QUICK FLASH... Mimi sharing to her group. Crying.

ROGER  
_Another dance. Another way. Another  
__chance__. Another day._

QUICK FLASH... Mimi and Roger meeting in the loft.

MIMI  
_No day but today!_

The song climaxes and fades. We see the boom box that Roger was listening to. After the song fades, the tape keeps turning in silence.


	8. Will I?

**DISSOLVE TO:**

INT. MAGNO SOUND EDITING ROOM – NIGHT

Mark Cohen is watching the film he's shot of the Life Support meeting. STEVE, a man in his late twenties, is sharing.

STEVE  
What I can't stand are the people who look at you with pity. Like there's something poetic about you dying and you're Jim Morrison on some poster. All I know is that I loved this girl, and she cheated on me once, and I'm here with you people.

Mark turns the camera around to the Life Support group. Some people really listen and nod their encouragement. Others have heard it all before.

STEVE (CONT'D)  
This is four years ago. And we've all heard each other's stories by now. You know... she tried to apologize to me, and I was too god damn angry, and I wouldn't take it. So, I get a call from her mother last week, begging me to come see her daughter because she's at the end, and can't stop babbling about how sorry she is. So, I go. Figure, you know... be a nice guy. Give her some peace. Accept her apology. Even if I don't mean it, what does it hurt, right?

The camera slowly pushes in on Steve.

STEVE (CONT'D)  
She was worn to nothing. I don't like to think about it either, but there it was. Her eyes had that far away thing. And I knelt down, and she recognized me... and her eyes hadn't changed at all. She looked like she did at Six Flags, which is the stupidest place to fall in love in the first place. So, I was there to pretend to accept an apology. But I just found myself apologizing because if I'd just been a bigger person, I know she would have had two more years. I mean, she was guilty about being late for the movies, so I can't even imagine what she was going through.

Steve pauses for a moment to collect himself.

STEVE (CONT'D)  
After that, she apologized, and I said, "Hey. You know. I'm still here. It's okay. There's nothing to be sorry about." And she suddenly looked so happy. So... her funeral is on Saturday, and when her mother called to tell me, she said thank you for giving her daughter three more happy days.

Deep breath.

STEVE (CONT'D)  
But I couldn't help thinking about myself... I'm not really afraid of dying anymore. And I think I can handle suffering. But... the thing I think about all the time is...

We hear the beginning of "Will I?" A sad and beautiful song that links everyone. Steve is looking right at Mark... and us. His singing is not sentimental. It's sober and present.

STEVE (CONT'D)  
_Will I lose my dignity? Will someone care?  
__Will I wake tomorrow from this nightmare?_

As his voice carries "nightmare," a group of people pick up the melody and lyrics off screen. We push into the screen of Mark's film and...

**DISSOLVE TO:**

EXT. WEST VILLAGE STREET – MORNING

At first, it's only one couple. A man helping his lover who is dying. Walking with a cane. Bundled up for the cold. A reverse angle shows Mark with his camera. Filming these men.

GROUP #1 (V.O.)  
_Will I lose my dignity? Will someone care?  
__Will I wake tomorrow from this nightmare?_

EXT. TENT CITY – MORNING

The homeless folks inhabiting this empty lot all give each other makeshift Christmas presents. Wrapped in newspaper. A bottle. A discarded toy for a kid. A blanket. Green Cap is copping from the Tompkins Square dealer.

GROUP #2 (V.O.)  
_Will I lose my dignity? Will someone care?  
__Will I wake tomorrow from this nightmare?_

INT. SUBWAY – MORNING

The three homeless men - Green Cap, Red Scarf, and Santa Claus are performing for a crowded train. Another homeless man is asleep, taking up three seats. Mark Cohen isn't reading the "Rashomon" book this time. He's filming.

GROUP #3 (V.O.)  
_Will I lose my dignity? Will someone care?_

EXT. WEST VILLAGE STREET - MORNING

We see the first couple on the street and pan to Angel and Collins walking together and pan to a man and a woman walking together – the woman is sick. We pull back to reveal a community struck hard. Dozens of people. Dying. Dozens of homeless people. Begging. Being hassled by the police. Mark drops the camera to his side. His eyes being opened.

GROUP #3 (V.O.)  
_Will I wake tomorrow from this nightmare?_

EXT. / INT. VARIOUS LOCATIONS – MORNING

As the final group takes over the melody and it builds into a gorgeous melting pot of voices and concerns, the image goes bigger than "groups" of people and looks at individuals with their own version of the same question.

GROUP #4 (V.O.)  
_Will I lose my dignity? Will someone care?  
__Will I wake tomorrow from this..._

ROGER is working in the pawn shop as a junkie kid pawns a guitar, which has "Lucille" embossed on it in silver letters.

BENNY is at lunch, talking with his investors, trying to convince them that everything is okay.

COLLINS is watching Angel sleep. He looks up at Mark's camera and smiles.

And finally...

INT. MAGNO SOUND EDITING ROOM – MORNING

Mark Cohen looks at his own reflection in the screen.

GROUP #4 (V.O.)  
_... nightmare!_

The reels continue to turn. It's a black screen.


	9. Santa Fe, Tango Maureen

INT. 53RD ST. SUBWAY STATION – DAY

Mark, ever-present camera at the ready, is shooting footage of things around him. A HOMELESS BLACK WOMAN, covered with blankets, sleeps on a nearby bench. TWO POLICE OFFICERS approach the WOMAN; one POKES her with his nightstick. The homeless woman staggers to her feet. Mark raises his Bolex, begins to film the cops and the homeless woman.

MARK  
Smile for Ted Koppel, Officers!

The cops turn and walk away. The homeless woman glares at Mark and screams at him through his lens. It looks like she's talking at us.

HOMELESS BLACK WOMAN  
Who the fuck do you think you are? I don't need no goddamn help from some bleeding heart cameraman. My life's not for you to make a name for yourself on!

MARK  
I'm sorry. I didn't—

HOMELESS BLACK WOMAN  
Just trying to use me to kill your guilt.  
(yells)  
It's not that kind of movie, honey. This place is filled with self-righteous motherfucking artists. Hey, artist. You got a dollar?

MARK  
No.

HOMELESS BLACK WOMAN  
I thought not.

The woman leaves. Mark Cohen pans the camera around to a man with a sign across his body. He's known in New York as the PROPHET OF 53RD STREET. An odd old man who shouts little sound bites to anyone who will listen. He's rather hilarious if you ever see him. He looks at Mark's camera and shouts.

PROPHET OF 53RD STREET  
Everyone is a lesbian!

MARK  
(ironic)  
So this is what I've been missing.

EXT. NEW YORK STREET – DUSK

We hear the opening bass groove of "Santa Fe" as Mark walks down the cold wet street. He sees two cab drivers having a heated argument. And we hear Angel and Collins singing.

ANGEL (V.O.)  
_New York City._

COLLINS (V.O.)  
_Uh huh._

ANGEL (V.O.)  
_Center of the universe._

COLLINS (V.O.)  
_Sing it girl._

INT. DELUXE APARTMENT LOBBY – DUSK

Mark is waiting while the doorman calls up to an apartment.

ANGEL (V.O.)  
_Times are shitty. But I'm pretty sure they can't  
__get worse._

ROGER (V.O.)  
_I hear you._

INT. ELEVATOR – DUSK

Mark takes a deep breath as he rides. The floors go higher and higher. 19-20-21.

ANGEL (V.O.)  
_It's a comfort to know when you're singing the  
__hit the road blues..._

INT. HALLWAY – DUSK

Mark knocks on the door. A beat.

ANGEL (V.O.)  
_... that anywhere else you could possibly go  
__after New York would b-e!_

The song pauses as the door opens and reveals an elegant black woman. She's educated, intelligent, anal retentive. The audience might think this is Benny's wife until...

MARK  
Hi, Joanne. Is Maureen here?

INT. PAWN SHOP – DUSK

Angel feigns fainting. The fun diva. The song continues.

ANGEL  
_A pleasure cruise._

A boom box sits on the ground, providing the bass and instruments. The three homeless men – RED SCARF, GREEN CAP, and SANTA CLAUS – are standing by it, taking part in the jam.

COLLINS  
_Now you're talking._

On the other side of the shop, Roger is smiling at the piano. Angel is beating on a plastic pickle drum. And Collins is walking around them all.

COLLINS (CONT'D)  
_Well, I'm thwarted by a metaphysic puzzle.  
__And I'm sick of grading papers - that I know.  
__And I'm shouting in my sleep, I need a  
__muzzle. All this misery pays no salary so..._

Collins walks to the shop window, peers out. Magically, the tenement buildings and dark, dingy streets TRANSFORM into the majestic LANDSCAPE of Santa Fe. The shop is bathed in golden light. The others begin to notice the change, staring in awe at the glorious sights before them. Collins turns to his friends. Roger bangs out a few warm chords on piano as Collins' voice takes over a lovely little melody.

COLLINS (CONT'D)  
_Let's open up a restaurant in Santa Fe. Oh,  
__sunny Santa Fe would be nice. Let's open up  
__a restaurant in Santa Fe and leave this to the  
__roaches and mice. Oh!_

Collins' voice finds a rich pocket as Angel, Roger, and the homeless men harmonize. Six new musician friends having a good time. Tapping their shoes – all of which are tattered.

ALL  
_Oh-oh!_

Angel and Collins dance around Roger, each taking their turn mussing his hair.

COLLINS  
_You're a sensitive aesthete. Brush the sauce  
__onto the meat. You could make the menu  
__sparkle with rhyme. You could drum a gentle  
__drum. I could seat guests as they come.  
__Chatting not about Heidegger but wine._

Just then, Mimi walks in. Collins walks over to her and grabs her hands. Mimi, being Mimi, doesn't resist. She just follows him. Dancing. Roger looks annoyed at Mimi being there. Angel notices. And smiles. Give it a little time.

COLLINS (CONT'D)  
_Let's open up a restaurant in Santa Fe. Our  
__labors would reap financial gain._

THREE HOMELESS MEN  
_Gains, gains, gains._

COLLINS  
_We'll open up a restaurant in Santa Fe and  
__save from devastation our brains._

THREE HOMELESS MEN  
_Save our brains._

Angel grabs Mimi's hand and leads her over to Roger. Mimi sits on the piano bench with him. It's like Schroeder and Lucy from the Peanuts. Mimi sweet. Roger annoyed. Collins and Angel dance together as everyone sings. The landscape of Santa Fe fills the windows.

ALL  
_We'll pack up all our junk and fly so far away.  
__Devote ourselves to projects that sell. We'll  
__open up a restaurant in Santa Fe. Forget this  
__cold bohemian hell. Oh-oh!_

As the song winds down, Collins turns to all of them. He looks at Mimi. Smoldering. Cool as silk.

COLLINS  
_Do you know the way to Santa Fe? You know,  
__tumbleweeds... prairie dogs... yeah._

The song fades with a snap of Angel's drumsticks and everyone looks around at each other. Smiling. Until... Mr. Alexi walks in.

MR. ALEXI  
What in your Christ's name do you do when I leave? Out! Out all of you!

The golden light FADES from the shop, replaced by the cool, green fluorescent street lighting. Outside, the landscape of Santa Fe has been replaced by the STREETS OF THE EAST VILLAGE. Everyone has returned to the reality of their tired, cold, dreary lives. The three homeless men leave. Mr. Alexi points at Roger.

MR. ALEXI (CONT'D)  
You I don't need tonight. Go home. Take your singing people. Go.

INT. PERFORMING ARTS LIBRARY – NIGHT

Juilliard students and actors are hard at work, watching classic plays and musicals on video. Others are checking out drama books and plays. Chekhov. Shakespeare.

Mimi and Angel are sitting with each other, whispering. Mimi points over at Collins, standing with Roger in the stacks.

MIMI  
You two a thing?

Angel looks at Collins. Smiles.

ANGEL  
Honey, we're everything.

Mimi laughs. A BOOKISH MAN studying near them looks up.

BOOKISH MAN  
Shhhh.

Mimi shushes. Looks at Angel. They both start laughing.

IN THE STACKS

Collins looks over at Angel and smiles. Roger is pulling out sheet music books and handing them to Collins. The Rolling Stones. Nirvana. He opens a Beatles book.

ROGER  
Eleanor Rigby is only three chords? Fucker.

Collins laughs. A moment.

COLLINS  
Mimi's a cute girl.

ROGER  
She's pushy and loud.

Collins smiles.

ROGER (CONT'D)  
Don't smile like you know what I'm thinking because you don't.

COLLINS  
All I said was that she was cute. You're the one being defensive. Is this about last night?

ROGER  
I don't want to talk about it.  
(pauses, softens)  
I got mad. I had to get her out of my sight.

COLLINS  
She'll be at Maureen's show tonight. You should come, too.  
(tender)  
I'd hate to see you pass up something that could be great for you... you'll only regret it.

ROGER  
(hardens)  
I'll live.

COLLINS  
But for how long?

They exchange a glance. The opening notes of "Tango: Maureen" are funny and sexy and cautious. Roger looks at Mimi, talking to Angel. She looks up and smiles at him. Roger goes back to his work.

INT. JOANNE'S DELUXE APARTMENT – NIGHT

The cautious notes continue. Mark is slowly assessing the apartment as Joanne is assessing Mark. The image glides.

MARK  
This is a nice place.

JOANNE  
Thank you.

Mark sees posters of Maya Angelou. Georgia O'Keefe. A photograph of Joanne with her mother and father with President-Elect Bill Clinton.

MARK  
Maureen said you're an attorney. Social work mostly.

JOANNE  
And you're a filmmaker?

Mark nods. He sees a P.A. system with the microphones and cords all tangled up. He smiles.

MARK  
Does she have you stage managing for her yet?

JOANNE  
Oh, no. Well, yes. But just this one protest.

MARK  
Are you having trouble with the microphone delay?

JOANNE  
Yes.

Mark smiles and keeps moving. Mark looks at the boxes of soy milk in the kitchen. The natural dish washing liquid. The bowl of organic fruit.

MARK  
A piece of friendly advice. Make sure this show is the last one, or you'll never get your own work done.

Joanne nods. Is he being friendly or nasty or both? Mark looks up and sees an entire shelf of NEWMAN'S OWN PRODUCTS. Spaghetti sauce. Popcorn. The works. He turns and suddenly Joanne's deluxe apartment is transformed into a...

INT. BALLROOM – NIGHT

Joanne is in an evening gown. Mark in tails. Mark and Joanne look at their new clothing and start singing.

JOANNE  
_This is weird._

MARK  
_It's weird._

JOANNE  
_Very weird._

MARK  
_Fuckin' weird._

JOANNE  
_I'm so mad that I don't know what to do._

EXT. TENT CITY – DAY

It's freezing. Maureen is directing Joanne and some others to set up a makeshift stage.

JOANNE (V.O.)  
_Fighting with microphones, freezing down to  
__my bones._

INT. BALLROOM – NIGHT

Joanne points at Mark.

JOANNE  
_And to top it all off I'm with you._

MARK  
_Feel like going insane? Got a fire in your  
__brain? And you're thinking of drinking  
__gasoline._

JOANNE  
_As a matter of fact—_

MARK  
_Honey, I know this act. It's called the "Tango  
__Maureen."_

INT. ROGER AND MARK'S LOFT – NIGHT

Mark sits defensive on the couch as Maureen just lays into him. It's a screaming, nasty fight.

MARK (V.O.)  
_The Tango Maureen! It's a dark, dizzy merry  
__go round. As she keeps you dangling._

INT. BALLROOM – NIGHT

Joanne shakes her head. No.

JOANNE  
_You're wrong._

INT. MARK'S BEDROOM – NIGHT

Maureen is on top of Mark, just fucking his brains out.

MARK (V.O.)  
_Your heart she is mangling._

INT. BALLROOM – NIGHT

Joanne is still shaking. No.

JOANNE  
_It's different with me._

MARK  
_And you toss and you turn 'cause her cold  
__eyes can burn yet you yearn and you churn  
__and rebound._

JOANNE  
_I think I know what you mean_

BOTH  
_The Tango Maureen!_

MARK  
_Has she ever pouted her lips and called you..._

INT. CLUB – NIGHT

Mark and Maureen have been dancing in a club. Maureen, her face hot and sweaty, smiles her devastating smile and mouths the word...

MARK (V.O.)  
_"__Pookie."_

INT. BALLROOM – NIGHT

Joanne rolls her eyes.

JOANNE  
_Never._

INT. CLUB – NIGHT

Mark and Maureen are kissing. Mark's eyes are closed. Maureen's are not. She's checking out a gorgeous girl at the other end of the bar.

MARK (V.O.)  
_Have you ever doubted a kiss or two?_

INT. BALLROOM – NIGHT

Joanne looks worried. Mark's story is ringing true.

JOANNE  
_This is spooky. Did you swoon when she  
__walked through the door?_

MARK  
_Every time. So be cautious._

INT. CLUB – NIGHT

Mark is at the bar, shell-shocked, looking at...

JOANNE (V.O.)  
_Did she moon over other boys-?_

... Maureen just grinding as she dances with another guy.

MARK (V.O.)  
_More than moon._

JOANNE (V.O.)  
_I'm getting nauseous._

**MATCH CUT TO:**

INT. BALLROOM – NIGHT

The grinding of Maureen and the club guy has been replaced by Joanne and Mark doing a dignified tango. They dance. Mark leads. They speak.

MARK  
Where'd you learn to tango?

JOANNE  
With the French Ambassador's daughter in her dorm room at Miss Porter's. And you?

MARK  
With Nanette Himmelfarb, the rabbi's daughter, at the Scarsdale Jewish Community Center.

They switch. Joanne leads.

MARK (CONT'D)  
It's hard to do this backwards.

JOANNE  
You should try it in heels!

Joanne lets go. Mark falls to the ground on his back. The singing continues. Joanne anxious.

JOANNE (CONT'D)  
_She cheated!_

MARK  
_She cheated._

JOANNE  
_Maureen cheated._

MARK  
_Fuckin' cheated._

JOANNE  
_I'm defeated. I should give up right now._

MARK  
_Gotta look on the bright side with all of your  
__might._

JOANNE  
_I'd fall for her still anyhow._

INT. THE CLIT CLUB – NIGHT

Women women everywhere on the night that Maureen and Joanne met. Joanne is nursing a drink at a table alone. She looks up to find Maureen giving her the eye.

BOTH (V.O.)  
_When you're dancing her dance you don't  
__stand a chance._

Maureen smiles. Devastating. Joanne smiles shyly.

BOTH (V.O.)  
_Her grip on romance makes you fall._

INT. JOANNE'S APARTMENT – NIGHT

Maureen and Joanne are getting it on under the sheets.

MARK (V.O.)  
_So, you think "might as well..._

INT. MARK AND ROGER'S LOFT – NIGHT

Maureen walks through the door, wearing the same outfit she did at the Clit Club. Mark gives her an angry stare.

JOANNE (V.O.)  
_... dance a tango to hell."_

BOTH (V.O.)  
_"__At least I'll have tangoed at all."_

INT. BALLROOM – NIGHT

Their dance is now sweeping. Exuberant.

BOTH  
_The Tango Maureen. Got to dance till your  
__diva is through. You pretend to believe her  
__'__cause in the end, you can't leave her._

INT. ROGER AND MARK'S LOFT – NIGHT

Maureen has her suitcases packed. Mark looks pissed and devastated as she walks out the door.

BOTH (V.O.)  
_But the end it will come. Still, you have to play  
__dumb..._

INT. JOANNE'S DELUXE APARTMENT – NIGHT

Maureen walks in with her suitcase. Joanne looks so happy.

BOTH (V.O.)  
_... till you're glum and you bum and turn blue._

INT. BALLROOM – NIGHT

Mark and Joanne let go and face each other.

MARK  
_Why do we love when she's mean?_

JOANNE  
_And she can be so obscene..._

**SMASH CUT TO:**

INT. JOANNE'S DELUXE APARTMENT – NIGHT

Back to reality. Mark fiddles with the P.A. system. He points to Joanne, holding the microphone.

MARK  
Try the mike.

The delay works as Joanne is haunted by...

JOANNE  
_My Maureen (een, een, een, een)._

MARK  
You're patched.

JOANNE  
Thanks.

MARK  
You know? It's good to meet you. I feel better now.

JOANNE  
I feel lousy.

Just then, the phone rings, and the machine picks up.

ANSWERING MACHINE  
Hi, you've reached Joanne and Maureen. Please leave a message. (BEEP!)

MAUREEN (V.O.)  
Hi... Joanne. I'll be at the lot, so if you could bring over the P.A. system, we can get started on the sound. Okay? Thanks... Pookie.

Joanne looks shocked. Mark delighted. They look at each other. Mark smiles. Joanne slumps.

EXT. TENT CITY – NIGHT

MAUREEN is standing on a makeshift stage and sees Mark Cohen standing there with the P.A. system.

MARK & JOANNE (V.O.)  
_The Tango Maureen!_

LATER

Mark and Maureen are in the middle of their conversation about Benny. More like a fight. How much of the anger is about the issue at hand and how much is their history only the actors can say.

MAUREEN  
I can't believe you're being Benny's stooge, Mark. I really can't.

MARK  
I'm not being anybody's stooge. If I actually thought you meant this protest. That you didn't just want to get on the 11 o'clock news.

MAUREEN  
I always knew you were a pussy, but a pussy with conviction at least.

MARK  
Well, you're the expert.

MAUREEN  
(sarcastic)  
Dyke joke. Brilliant.

MARK  
Look, do you really think doing a performance piece about a fucking cyber-cow is going to stop the eviction of these people? Come on.

MAUREEN  
There's more to it than that.

MARK  
Whatever you do. He owns the property. He's called the cops. It's wrong. I agree. I tried to talk him out of it. But regardless of what you do tomorrow, they're going to have to find a place to live. But if you stop this, Roger can stay. And Collins. And Angel.

MAUREEN  
And you.

MARK  
I can always go back to Scarsdale. Roger doesn't have that. Neither does Coll—

MAUREEN  
Did Roger say that?

Mark is silent.

MAUREEN (CONT'D)  
You didn't even tell him, did you?

MARK  
He just got out of rehab.

MAUREEN  
Why even qualify it? You always do that. You take on people's burdens. And you think you're doing them a favor.

MARK  
Like with you and homeless people?

Maureen's not touching that nugget of truth.

MAUREEN  
You did it with me.

MARK  
Oh, I'm an asshole because you treated me like shit. That's brilliant. That's Newman's Own popcorn brilliant.

MAUREEN  
You're even doing it with Benny. You tried to talk him out of it. Do you know how hopeless that is? Do you have any idea what he's become?

Mark is silent. Doesn't like where this is going.

MAUREEN (CONT'D)  
He's not your friend anymore, Mark. He's not Roger's friend. Collins' friend. Not when you guys got in his way. He made his choice. I made mine. Where do you stand?

MARK  
I'm standing with Roger.

MAUREEN  
If you went to Roger and told him what's happening and he and Collins came to me and said stop the protest, I'd stop it.

MARK  
But they won't. You know they won't.

MAUREEN  
And you know what's best for them?

MARK  
They're dying, Maureen.

MAUREEN  
No. They're living. You're the one dying.

INT. BENNY'S DELUXE APARTMENT – NIGHT

The apartment makes Joanne and Maureen's look like a hole in the wall. It's big. Too big. Tastefully decorated, with stunning views. And cold. Benny looks small in the vast space. The phone rings.

BENNY  
Benjamin Coffin.

MARK (O.S.)  
Benny?

Benny pauses.

BENNY  
Hey, Mark.

EXT. TENT CITY – NIGHT

Mark stands at a pay phone, Maureen and Joanne looking on. Maureen is psyched. Can't believe he's doing this. Joanne looks doubtful.

MARK  
I thought about what you said at dinner...

Benny is silent on the other end.

MARK (CONT'D)  
We'll see you at the protest tonight.

BENNY  
It's nothing personal, Mark.

MARK  
No. It's not. Anymore.


	10. La Vie Boheme, I Should Tell You

EXT. TOMPKINS SQUARE PARK – NIGHT

Roger walks through the park, en route to the show. He sees Mimi across the way. She is buying smack from the dealer. Roger walks up, pulls Mimi aside.

ROGER  
Hey.

MIMI  
Hey.

ROGER  
Look, I just want to say... I'm sorry for the way—

MIMI  
Forget it.

ROGER  
I was outta line. Can I make it up to you?

MIMI  
How?

ROGER  
A dinner party. At the Life Café. After Maureen's show.

MIMI  
Sure. I'd like that.

They exchange a smile. The DEALER walks up, shoves Roger.

DEALER  
Hey, lover-boy. You steal my client, you die.

ROGER

(angrily shoves back)  
You didn't miss me. You won't miss her.

The dealer backs off, intimidated by Roger's anger. Roger takes Mimi's hand, pulls her across the way, en route to the show.

EXT. TENT CITY – MOMENTS LATER – NIGHT

At first, it's silent to us. But we can see the noise. Hundreds of people. Homeless. Little kids. Dozens of police in riot gear. Mark with his camera. Roger with Mimi. Angel with Collins. Joanne backstage with the P.A. system and light board. Benny on the corner, standing with his investors. Signs waving. People shouting.

Fires burn in the trash cans, keeping the crowd warm, and casting ribbons of smoke across the scene, making it look like the place for a showdown.

Maureen stands at the corner of the stage, ready to go on. She's trembling, nervous. Joanne massages her shoulders. Maureen takes a deep breath, steps onstage.

The audience sees Maureen. Their applause and cheers soars to a deafening level. Maureen raises her hand. The stage goes black. People look around in anticipation. Police speak on walkie talkies.

Suddenly, LIGHTS BLAST ON. The stage is bathed in a bright glow. A huge metal sculpture of a Christmas tree adorns the back of the stage. Mark excitedly begins to film. Maureen steps to the microphone.

MAUREEN_  
Last night, I had this dream. I found myself in  
a desert called Cyberland. It was hot. My__  
canteen had sprung a leak, and I was thirsty.__  
Out of the abyss walked a cow. Elsie. "I am  
forbidden to produce..._

(grabs her breast)_  
... Milk," she said. "In Cyberland, we only__  
drink..._

Maureen moves to a special microphone, taped red.

MAUREEN (CONT'D)_  
... Diet Coke."_

The microphone throws the words in reverb. "_Diet Coke, Diet Coke, Diet..._" The audience cheers and applauds with tremendous enthusiasm. Benny exchanges a worried look with his investors and father-in-law, Mr. Grey, who is slowly fuming.

MAUREEN (CONT'D)_  
She said, "The only thing to do is jump over  
__the moon." They've closed everything real__  
down. Barns, troughs and performance__  
spaces! And replaced it all with lies and rules  
and virtual life._

Special microphone. The reverb: _Life, life, life, life_...

MAUREEN (CONT'D)_  
And there's only one way out..._

On the back of the stage, THREE BACKUP SINGERS appear.

THREE BACKUP SINGERS  
_Leap of faith. Leap of faith. Leap of faith.  
Leap of faith._

MAUREEN_  
Only thing to do is jump over the moon. I  
__got to get outta here! It's like I'm being tied to  
__the hood of a yellow rental truck, being__  
packed in with fertilizer and fuel oil, pushed__  
over a cliff by a suicidal Mickey Mouse! I've  
__got to, got to, got to, got to, got to, got to, got to,  
__got to, got to, got to find a way. To jump over the  
moon._

THREE BACKUP SINGERS_  
Leap of faith. Leap of faith. Leap of faith.  
Leap of faith._

MAUREEN_  
Only thing to do is jump over the moon._

The crowd is with her, starting to sing along. Mimi, Angel and Collins are singing. Roger smiles. Mark continues to film.

Maureen goes to the next verse, looks to the back of the crowd. Her eyes meet Benny's.

MAUREEN (CONT'D)_  
Then a little bulldog entered. His name (we__  
have learned) was Benny. And although he  
__once had principles, he abandoned them to  
__live as a lapdog to a wealthy daughter of the  
revolution._

Mr. Grey shoots a cold, insulted look to Benny. Scared, Benny dashes over to a nearby RIOT COP. Benny whispers to the cop, giving the policeman very specific orders. The cop nods, moves to a group of RIOT POLICEMEN, repeating Benny's instructions.

A worried Roger sees what has transpired between Benny and the cops.

MAUREEN (CONT'D)_  
One, two, three... "That's bull," he said. "Ever  
__since the cat took up the fiddle, that cow's  
__been jumpy. The dish and the spoon were  
__evicted from the table - and eloped. She's__  
had trouble with that milk and the moon ever__  
since. Maybe it's a female thing. 'Cause who'd__  
want to leave Cyberland anyway? Walls ain't  
so bad! The dish and the spoon, for instance.__  
They're down on their luck, they come knockin'__  
on my doghouse door, and I say, "Not in my  
__backyard, utensils! Go back to China." The  
only way out is up. Elsie the cow whispered to  
__me, "A leap of faith. Still thirsty?" she asked.  
Parched. "Have some milk." I lowered myself  
beneath her swollen udder and sucked the  
sweetest milk I'd ever tasted._

Maureen makes a loud, slurping, sucking sound. Some of the homeless people watch on. Some confused. Some insulted.

MAUREEN (CONT'D)_  
"__Climb on board," she said. And as a harvest__  
moon rose over Cyberland, we reared back.__  
We sprang into a gallop. Leaping out of orbit!  
I awoke singing:_

The backup singers continue:

THREE BACKUP SINGERS_  
Leap of faith, leap of faith, _etc.

MAUREEN_  
Only thing to do is jump over the moon. Over  
the moon. Over the—_  
(moos like a cow)_  
Mooooooo! Moooooooo! Moooooooo!__  
C'mon! Moo with me!_

Maureen encourages the audience to moo with her. Several audience members join her, beginning to moo.

MAUREEN (CONT'D)  
Moo with me. Come on. That's right! Moo, damn you!

Some of the crowd moo's. Others chant slogans seen on signs. The rest laugh. Mark Cohen rolls his eyes at Maureen and keeps filming. Mimi, Angel, and Collins moo. Roger smiles. Benny is deadly still.

MAUREEN (CONT'D)  
Yes, moo! When they tell you people don't care, moo! When they want to quietly wipe out an entire tent city of people, and then watch _It's a_ _Wonderful Life _on TV, moo! When they tell you that there is only one way to live...

The crowd gets more into it. Mooing. Little homeless kids smile and moo. Mark is filming. Listening.

MAUREEN (CONT'D)  
... one way to be... when they say they don't have a choice, and you know that they've convinced themselves that they're right... moo! When they say that you'll never make it big and think that what you do is any less valid because of it... moo!

The crowd is starting to get rowdy. Stepping on a few policemen's toes unwittingly.

BACKSTAGE... Maureen is sweating, wiping off her face. Joanne doesn't look pleased, she looks scared.

JOANNE  
It's getting out of control, Maureen.

In the midst of this, one of the cops PUSHES a protestor. The protestor PUSHES BACK.

Others JOIN in. Angry protestors and police STAND OFF. Shoving. Shouting. A punch is thrown. A RIOT begins. At first it's the cops against the protestors. Then everyone begins to JOIN IN. Mark PANS his CAMERA AWAY from the stage, begins to FILM the riot.

Maureen stops her show, tries to stop the rioting.

MAUREEN  
(softly, scared)  
People. Please. Let's be cool...

Joanne joins Maureen onstage, trying to pull her off.

A policeman shoves a protestor into the light board. The lights flash. Some go on. Some start to strobe, flashing. Then all the lights go out, except for the ones in the apartments surrounding.

A policeman shoves a homeless man into a trash can. The trash can gets knocked over, and the Christmas tree goes up in flames. The snow dances in the air.

A cop tries to arrest Angel. He gives the cop a swift kick in the shins, followed by an elbow to the jaw. The cop drops to his knees. Angel grabs Collins, Roger and Mimi, trying to escape through the crowd.

ON THE STAGE... Joanne watches in horror. Maureen sees a cop beating on a homeless man. She LEAPS from the stage, into the crowd. Joanne follows.

As homeless people get shoved around. And cops get hit with bricks and bottles. Angel tries to lead the group onto a fire escape. One cop stands in front of them. It looks like they're done for until...

The cop takes off his riot mask and reveals his face. It's STEVE. The man from the Life Support group.

STEVE  
It's going to get worse. Get the fuck out of here!

Angel nods. Scared. Steve ushers most of them away from the fire escape down an alley. The last to go is Mimi. Roger grabs her hand. Across the way… Benny sees them together. Roger doesn't notice him. He just moves Mimi into the alley and disappears. We move in on Benny, shaking his head. Can't believe his luck. An idea forming.

Maureen is punching, kicking at the cop. Joanne manages to pull her away, back onto the stage, where they escape through an alley.

Mark is in the middle of the madness, filming everything. He turns his camera to a group of cops who throw some homeless folks into the rear of the paddy wagon. Mark is shocked silent. His camera jams. He smacks it.

EXT. LIFE CAFÉ – LATER – NIGHT

A large, fairly upscale East Village café. A LIGHT SNOW continues to fall. We hear the sounds of police and ambulance sirens, along with shouting and screaming, in the background.

Roger, Mimi, Angel and Collins arrive at the cafe entrance, joined by Maureen and Joanne, who tries to comfort her distraught lover.

JOANNE  
(tender)  
Baby, please. Calm down. It's gonna be okay. The audience loved you. They got your message.

MAUREEN  
Before or after they got arrested? I mean... it was supposed to be a peaceful protest. How did it get so out of control?

ROGER  
Benny.

MAUREEN  
Benny?

ROGER  
(nods)  
He orchestrated the whole thing. I saw it all go down.

MAUREEN  
That prick!

Mark dashes up to our group of bohemians. Mark is dancing on air, excited, happy, sporting a few bruises and scratches from the riot. Maureen turns on him, furious.

MAUREEN (CONT'D)  
What are you so fucking happy about?

MARK  
Guess who's headlining tonight's eleven o'clock news?

MAUREEN  
Who?

MARK  
You.

Maureen is confused, but intrigued.

MARK (CONT'D)  
They bought my riot footage.

The mood turns from grim to exuberance. Joanne looks at Maureen.

JOANNE  
Everybody in New York City is gonna see your show!

ANGEL  
Honey, you're a star.

Maureen, eyes wet with tears, and a smile that could melt this cold night, turns to Mark. She moves close to him, appreciative, sexy.

MAUREEN  
I don't know what to say... how can I repay you?...

Mark pauses, a slow smile. Joanne, jealous, steps between the two of them. Stern, she looks at Maureen.

JOANNE  
Let the boy buy us dinner.

Everyone cheers, in unison. They excitedly enter the café.

INT. LIFE CAFÉ – NIGHT

The restaurant MANAGER, a high strung man, panics upon seeing Mark, Roger and the group of bohemians. He tries to shoo them out.

MANAGER_  
No. Please. No. Not tonight. Please, no.__  
Mister - can't you go - not tonight. Can't have a  
scene._

ROGER  
(walking by him)_  
What?_

MANAGER_  
Go. Please. Go. You -_

Suddenly, the doors open. Benny enters, with his investors and Mr. Grey. When Mimi sees Benny, her face goes COLD. When the manager spots Benny, he immediately ushers him through.

MANAGER (CONT'D)_  
Hello, sir._

Maureen leaps for Benny's throat, Joanne holds her back. Benny and his group are immediately seated. Roger looks back to the manager.

MANAGER (CONT'D)_  
I said no. Important customers._

MARK_  
What am I - just a blur?_

MANAGER_  
You sit all night. You never buy._

MARK_  
That's a lie! That's a lie! I had a tea the other  
day._

MANAGER_  
You couldn't pay._

MARK_  
Oh yeah._

Angel holds up a wad of cash.

ANGEL  
Tonight we can.

The manager sighs, can't turn down the business. He leads the bohemians into the café. They pass Benny's table.

COLLINS_  
Benjamin Coffin III? Here?_

MANAGER_  
Oh no._

THE BOHEMIANS_  
Wine and beer!_

MAUREEN_  
The enemy of Avenue A. We'll stay._

MANAGER_  
Oy vey!_

COLLINS_  
What brings the mogul in his own mind to the  
Life Café?_

The bohemians take their place at a long table in the center of the room. It resembles the Last Supper. Several other bohemians, part of their entourage, join our main cast at the table. Benny stands and raises his glass. Sarcastic.

BENNY_  
I would like to propose a toast to Maureen's  
noble try. It went well..._

MAUREEN_  
Go to hell._

BENNY_  
Was the yuppie scum stomped? Not counting  
__the homeless, how many tickets weren't  
comp'ed?_

ROGER_  
Why did Muffy—_

Mr. Grey glares at Roger.

BENNY_  
Allison._

ROGER_  
Miss the show?_

BENNY_  
There was a death in the family, if you must  
know._

ANGEL_  
Who died?_

BENNY_  
Our Akita._

Angel and the group realize it was Benny's family dog he killed. Roger stifles a laugh.

BENNY, MARK, ANGEL, COLLINS_  
Evita._

Benny stands, hovers around Mimi. She's nervous.

BENNY_  
Mimi, I'm surprised a bright and charming girl  
__like you hangs out with these slackers who  
don't adhere to deals._

"La Vie Bohéme" begins.

BENNY (CONT'D)_  
They all make fun. Yet I am the one  
__attempting to do some good. Or do you really__  
want a neighborhood where people piss on  
your stoop every night?_

The song breaks into melody. Benny gets right into Roger's face. All sarcasm now betrayal and anger.

BENNY (CONT'D)  
_Bohemia! Bohemia! It's a fallacy in your  
head. This is Calcutta... Bohemia is dead._

Benny turns on Mark. It hangs in the air like a challenge. A beat. Mark looks to Maureen.

MAUREEN  
Benjamin Coffin III... for all this and so much more...

Benny stares at Maureen. He looks like he could kill.

MAUREEN (CONT'D)  
This one's for you.

Mark stands and raises his glass. The bohemians immediately enact a mock funeral. Mark delivers a "eulogy" to a rousing pipe organ.

MARK  
_Dearly beloved. We gather here to say our  
goodbyes._

COLLINS & ROGER_  
Dies irae - dies illa. Kyrie Eleison. Yitgadal  
v'yitkadash, _etc.

Mark jumps up and lies on the table like it was a coffin.

MARK_  
Here she lies! No one knew her worth, the  
__late great daughter of mother earth. On this  
night when we celebrate the birth..._

The pipe organ is replaced by piano. A melody we've all heard before... an oldie but a goodie...

MARK (CONT'D  
)_In that little town of Bethlehem, we raise our  
glass... you bet your ass to..._

Maureen moons Benny. He doesn't blink.

MARK (CONT'D)_  
La Vie Bohéme!_

The dirge is over. A cool and fun piano groove sneaks up. The company all move to it. First, shoulders. Then, heads. As they sing...

BOHEMIANS_  
La vie Bohéme. La vie Bohéme. La vie__  
Bohéme. La vie Bohéme._

The artists - Roger, Mimi, Angel, Collins - begin to suspect that Mark's rebuttal to Benny might simply be a fun, campy celebration of what they, and all artists, go through. They begin to smile, nod their heads. And tap their feet. As Mark sings...

MARK  
_To days of inspiration, playing hooky, making__  
something out of nothing, the need to express.__  
To communicate. To going against the grain,  
going insane, going mad._

Mimi, Angel and Collins smile. Maureen is impressed. Mark approaches the crowd. Encouraging them to add their own little riffs.

MARK (CONT'D)_  
To loving tension. No pension. To more than  
one dimension._

Mark points to a guy at the table.

GUY AT TABLE_  
To starving for attention. Hating convention,  
hating pretension..._

MARK  
_... not to mention of course, hating dear old  
Mom and Dad._

The guy at the table smiles. Mark moves left. Everyone sings "_La Vie Bohéme_" as backup.

MARK (CONT'D)  
_To riding your bike, midday, past the three  
piece suits. To fruits. To no absolutes._

He points to Collins.

COLLINS_  
To Absolut. To choice._

Collins looks to Angel.

ANGEL_  
To the Village Voice. To any passing fad._

She looks to Roger.

ROGER_  
To being an us for once..._

Mark motions for Benny to join his friends, then points to Benny's investors.

ROGER (CONT'D)_  
... instead of a them._

The investors are upset at Benny. He calms them. Mark smiles, and the company kicks in with the chorus as Roger and Benny stare at each other. Cold and sober.

BOHEMIANS_  
La vie Bohéme. La vie Bohéme._

Maureen caps the line with a smack to Joanne's ass. Mr. Grey stares.

MR. GREY  
(disapproving)_  
Ahhemmm!_

MAUREEN  
(hugs Joanne)_  
Hey, mister. She's my sister._

The manager arrives, pad in hand.

MANAGER  
_So that's five miso soups, four seaweed salad,  
__three soy burger dinner, two tofu dog platter.  
And one pasta with meatless balls._

ROGER_  
Ugggh._

COLLINS_  
It tastes the same._

MIMI_  
If you close your eyes._

MANAGER_  
And thirteen orders of fries. Is that it here?_

BOHEMIANS_  
Wine and beer!_

Mimi and Angel jump up on the table and begin dancing.

MIMI & ANGEL_  
To hand-crafted beers made in local__  
breweries. To yoga. To yogurt. To rice and  
beans and cheese. To leather._

Angel lies face down on the table. Mimi mimes fucking Angel from behind. Benny's investors shake their heads. Benny is too pre-occupied to deal with them.

MIMI & ANGEL (CONT'D)  
_To dildos. To curry vindaloo. To huevos  
rancheros and Maya Angelou._

Mimi turns to smile at Roger, but he's distant. Collins and Maureen dance ballroom past him.

MAUREEN & COLLINS_  
Emotion devotion. To causing a commotion.  
Creation. Vacation._

Maureen points to Mark...

MARK_  
Mucho masturbation._

Mark looks at Benny. It's a long stare. The look on both of their faces is simply recognition that the friendship will never be the same. Betrayal. Sadness. Anger. All wrapped up into one.

MAUREEN & COLLINS_  
Compassion, to fashion, to passion when it's  
new._

COLLINS_  
To Sontag._

ANGEL_  
To Sondheim._

FOUR BOHEMIANS_  
To anything taboo._

The music takes on a hard guitar riff and harmony. Roger taps Angel, and begins dancing with Collins. Mimi feels outright ignored by him now.

COLLINS & ROGER_  
Ginsberg, Dylan, Cunningham, and Cage._

COLLINS_  
Lenny Bruce._

ROGER_  
Langston Hughes._

Maureen raises her fist.

MAUREEN_  
To the stage!_

BOHEMIANS_  
To Uta. To Buddha. Pablo Neruda, too._

Mimi, fed up with Roger, grabs Mark. They dance. Mark sings and finds himself smiling.

MARK & MIMI_  
Why Dorothy and Toto went over the  
rainbow... to blow off Auntie Em._

BOHEMIANS_  
La vie Bohéme._

Joanne and Maureen kiss. Mr. Grey looks at them, suspicious.

MR. GREY_  
Sisters?_

MAUREEN_  
We're close._

The song is building. Angel jumps on top of Collins, who's on the table. They kiss.

ANGEL, COLLINS_  
Brothers!_

Benny tries to calm Mr. Grey. Mark, Angel and Mimi are leading the dance.

MARK, ANGEL, MIMI & 3 OTHERS  
_Bisexuals, trisexuals, homo sapiens,__  
carcinogens, hallucinogens, men, Pee Wee__  
Herman. German wine, turpentine, Gertrude  
__Stein, Antonioni, Bertolucci, Kurosawa,  
Carmina Burana._

The crowd is starting to shout out things. The other bohemians join them, now all dancing on the table.

BOHEMIANS_  
To apathy, to entropy, to empathy, ecstasy,__  
Vaclav Havel - the Sex Pistols, 8BC, to no  
shame - never playing the fame game._

Collins stands on the table.

COLLINS_  
To marijuana._

BOHEMIANS_  
To sodomy. It's between God and me. To S&M._

Mr. Grey and the investors get up from the table; start to walk out of the restaurant. Benny runs to grab the manager.

BENNY_  
Waiter, waiter, waiter!_

BOHEMIANS_  
La vie Bohéme._

The music continues as Collins stands and speaks.

COLLINS  
In honor of the death of Bohemia, an impromptu salon will commence immediately following dinner. Mimi Marquez, clad only in bubble wrap, will perform her famous lawn chair-handcuff dance to the sounds of iced tea being stirred.

Mimi laughs. Collins gestures to Roger.

ROGER  
Mark Cohen will preview his new documentary about his inability to hold an erection on the high holy days.

Mark laughs. Roger gestures to him.

MARK  
And Maureen Johnson, back from her spectacular one-night engagement at the 11th Street lot, will sing Native American tribal chants backward through her vocoder, while accompanying herself on the electric cello, which she has never studied.

Joanne sees Maureen playfully kiss Mark. Benny, looking for a waiter, runs into Mimi. He pulls her aside, careful that no one is watching.

BENNY_  
Your new boyfriend doesn't know about us?_

MIMI_  
There's nothing to know._

BENNY_  
Don't you think that we should discuss—_

MIMI_  
It was three months ago._

BENNY_  
He doesn't act like he's with you._

MIMI_  
We're taking it slow._

BENNY_  
Where is he now?_

MIMI_  
He's right - hmmm..._

BENNY_  
Uh-huh._

MIMI_  
Where'd he go?_

She glares at Benny, turns and hurries back to the celebration. Benny turns, watches. Back to the bohemian celebration...

MARK  
Roger will attempt to write a bittersweet, evocative song.

Roger picks out Musetta's theme on the guitar.

MARK (CONT'D)  
That doesn't remind us of "Musetta's Waltz."

COLLINS  
Angel Dumott Schunard will model the latest fashions from Paris while accompanying herself on the 10 gallon plastic pickle drum.

ANGEL  
And Collins will recount his exploits as an anarchist... including the tale of his successful reprogramming of the M.I.T. virtual reality equipment to self-destruct, as it broadcast the words...

BOHEMIANS  
Actual Reality. Act up. Fight AIDS!

Mimi, upset, confused, steps in front of Roger.

MIMI_  
Excuse me, did I do something wrong? I get  
invited, then ignored all night long._

ROGER_  
I've been trying. I'm not lying. No one's  
perfect. I've got baggage._

MIMI_  
Life's too short, babe. Time is flying. I'm  
looking for baggage that goes with mine._

ROGER  
(softens)_  
I should tell you._

MIMI_  
I've got baggage, too._

ROGER_  
I should tell you._

ROGER & MIMI_  
Baggage._

BOHEMIANS_  
Wine and beer!_

Several BEEPERS go off, reminding people with AIDS to take their meds. Collins and Angel turn theirs off, take their pills. Roger turns his beeper off. Mimi turns off her beeper.

MIMI  
AZT break.

All sound of the crowd is blocked out as Roger turns and looks at Mimi. The groove is replaced by a beautiful piano ballad. Mimi feels him looking and turns. They look into each other's eyes, and we see them as they see each other. Beautiful. We hear them sing.

ROGER  
(shocked)_  
You?_

MIMI_  
Me. You?_

Roger takes her hand.

ROGER_  
Mimi._

Angel sees them and then looks over at Mark Cohen jumping on the table, filming and dancing. The look on her face is one of accomplishment. It's a private moment that ends with a smile.

The music slows into the lovely ballad "I Should Tell You." Roger leads Mimi through the back hallway, into the...

EXT. LIFE CAFÉ – OUTER COURTYARD – NIGHT

A summer courtyard, deserted in the winter. Tables and chairs are covered with several inches of snow. The glorious snow continues to fall. It's a magical, romantic night. Roger and Mimi enter, holding hands, alone. They look into each other's eyes, singing their love.

ROGER_  
I should tell you, I'm disaster. I forget how to  
begin it._

MIMI_  
Let's just make this part go faster. I have yet to  
be in it. I should tell you._

ROGER_  
I should tell you._

MIMI_  
I should tell you._

ROGER_  
I should tell you._

MIMI_  
I should tell I blew the candle out just to get  
back in._

ROGER  
_I'd forgotten how to smile until your candle  
burned my skin._

MIMI_  
I should tell you._

ROGER_  
I should tell you._

MIMI_  
I should tell you._

ROGER & MIMI_  
I should tell. Well, here we go. Now, we..._

MIMI_  
Oh, no._

ROGER_  
I know. This something is... here goes._

MIMI_  
Here goes._

ROGER_  
Guess so. It's starting to... who knows?_

MIMI_  
Who knows?_

The song starts to build. CAMERA CRANES UPWARD. They become two small figures, alone, huddled together amidst the buildings and falling snow.

ROGER & MIMI_  
Who knows where? Who goes there? Who  
knows? Here goes?_

They finally surrender to each other, beginning to slow dance in the courtyard. Mimi puts her head on Roger's shoulder.

ROGER & MIMI (CONT'D)  
_Trusting desire. Starting to learn. Walking__  
through fire, without a burn. Clinging. A__  
shoulder. A leap begins. Stinging and older.  
Asleep on pins. So here we go. Now, we..._

Roger takes Mimi's hand, leads her back inside.

ROGER_  
Oh, no._

MIMI_  
I know._

ROGER_  
Oh, no._

ROGER & MIMI  
_Who knows where? Who goes there? Here  
goes. Here goes. Here goes._

INT. LIFE CAFÉ – NIGHT

Roger and Mimi enter, holding hands, gazing into each other's eyes.

ROGER & MIMI_  
Here goes. Here goes. Here goes._

Mimi's eyes start to well up. Smiling.

MIMI  
Is that why you didn't want to... you just didn't want to give it to... me?

It's the way she says "me," pointing to herself. Roger not wanting to taint her is maybe the kindest concern anyone has ever shown this girl. Roger can't know that. Mimi can't articulate it. But it's there. She cries.

ROGER  
What? What is it?

MIMI  
Nothing. It's nothing.

She wipes her tears and leans to kiss him.

ROGER  
Mimi... I should tell you. I'm not a nice guy.

MIMI  
Oh... you're wrong.

She does more than kiss him. Her face and shoulders and thin arms give everything she has to this boy. It's devastating. Roger is reluctant at first. Then, he begins to be swept up. The kiss is long and smoldering and clinging hopeful. Long, passionate. Perfect. Everything a first kiss should be.

The BOHEMIANS, seeing Roger and Mimi kissing, break into loud CHEERS and APPLAUSE.

BOHEMIANS_  
Yeahhh!_

Mimi and Roger run back to their friends, jump up on the table and join the bohemians. They all shout out an art form, and then focus on a young artist who fits the bill.

BOHEMIANS (CONT'D)_  
To dance!_

MIMI_  
No way to make a living, masochism, pain,  
perfection, muscle spasm, chiropractors, short careers,__  
eating disorders._

Everyone is dancing, celebrating.

BOHEMIANS_  
To film!_

MARK_  
Adventure, tedium, no family, boring  
__locations, dark rooms, perfect faces, egos,  
money, Hollywood, and sleaze._

BOHEMIANS_  
To music!_

ANGEL_  
Food of love, emotion, mathematics, isolation,  
rhythm, feeling, power, harmony..._

ROGER  
(cutting in playfully)_  
... and heavy competition._

BOHEMIANS_  
Anarchy!_

COLLINS & MAUREEN_  
Revolution, justice, screaming for solutions,  
__forcing changes, risk, and danger, making  
noise, and making pleas._

PANDEMONIUM ERUPTS in the restaurant. Everyone is dancing on tables, chairs, and the bar. Benny is pleading with his investors to no avail. They walk away, leaving him alone.

BOHEMIANS  
_To faggots, lezzies, dykes, cross dressers,  
too._

MAUREEN_  
To me._

MARK_  
To me._

COLLINS & ANGEL_  
To me._

BOHEMIANS_  
To you and you and you, you and you._

Mark says the final "you," pointing at Benny. He waves for Benny to come and join them. Still hoping that Benny thinks he belongs on the table rather than with the investors.

BOHEMIANS (CONT'D)_  
To people living with, living with, living with,  
not dying from disease._

The bohemians move forward and Mark points at Benny.

MARK_  
Let he among us without sin be the first to  
condemn..._

ALL  
_La vie Bohéme. La vie Bohéme. La vie  
Bohéme._

The bohemians continue their chant of "_La Vie Bohéme_" as Mark shouts.

MARK_  
Anyone out of the mainstream... is anyone in  
the mainstream? Anyone alive? With a sex__  
drive! Tear down the wall. Aren't we all? The  
opposite of war isn't peace... it's creation!_

BOHEMIANS_  
La vie Bohéme._

The song hits a crunch point. Holding on a tense chord. Waiting for release. Everyone raises their fists high in the air. Defiant. The tension chord is released and they chant as one.

BOHEMIANS (CONT'D)_  
Viva la vie Bohéme!_

**SMASH CUT TO BLACK.**


	11. Seasons of Love B, Alexi, Benny's Visit

EXT. EAST VILLAGE – EARLY MORNING

The bohemians are splitting a few bottles of cheap champagne between them, bleary eyed, tired, following a night of partying. They are happy, filled with hope, and the promise of a New Year. CAMERA STARTS on Roger and Mimi, walking ahead of the others, having a conversation. (Their VOICES are heard OVER the soundtrack. They don't sing the song ONSCREEN).

COMPANY (V.O.)_  
In diapers. Report cards._

CAMERA PANS BACK to Maureen, dressed in black leather, with Angel, dressed as a 60's go-go girl, and Collins, in a tuxedo.

COMPANY (V.O.)_  
In spoked wheels, in speeding tickets._

CAMERA PANS BACK to Mark, walking with Joanne.

COMPANY (V.O.)_  
In contracts. In dollars._

**SMASH CUT TO:**

EXT. MARK AND ROGER'S LOFT – LATE AFTERNOON

The aftermath. The door has been padlocked. We move over to the adjacent lot. It's scorched and fenced off with barbed wire. The homeless are gone.

COMPANY (V.O.)_  
In funerals, in births._

Mark, Mimi, and Roger stare at the lot, and then see Angel and Collins approach. The group nods to each other in silence. Then, Angel takes out a blow torch and starts plowing through the padlock.

COMPANY (V.O.)  
_In - five hundred twenty-five thousand six  
hundred minutes._

INT. ROGER AND MARK'S LOFT – NIGHT

They enter, turn on the lights. It's completely BARE. Benny took everything. The fridge. The appliances. Only Roger's guitar remains, resting against the wall, in the corner.

COMPANY (V.O.)_  
How do you figure a last year on earth?__  
Figure in love. Figure in love. Figure in love.__  
Measure in love. Seasons of love. Seasons  
of love._

MARK  
Now what do we do?

JOANNE  
(pauses, thinking)  
Technically, now that you're inside, you're squatters. They can't arrest you, and Benny can't simply turn you out on the street. It could give you and Roger enough time to get some money together.

MARK  
Thanks, Joanne.

Mark exchanges a worried look with Roger.

EXT. LOFT – LATER – THAT NIGHT

Maureen and Joanne exit. Mark runs out, calls to Joanne.

MARK  
Joanne—

Joanne and Maureen turn back. Mark walks up to Joanne, takes a deep breath, and swallows. This is hard for him.

MARK (CONT'D)  
I think I might need a lawyer.

Mark looks at Maureen, who gives him a nasty look. Joanne smiles and gives him a business card.

EXT. TELEVISION STUDIO – DAY

The sun is out. Mark and Joanne enter the building.

INT. ALEXI DARLING'S OFFICE – DAY

ALEXI DARLING (34) is all business and schmooze. She has said the following words so many times to so many different people, they sound completely genuine. And hopefully will get us laughing.

ALEXI DARLING  
Hot.

Mark Cohen is sitting with Joanne.

MARK  
Uh... thank you.

ALEXI DARLING  
Your footage reminded me of my college days. Fighting the fight. Looking good while doing it. Who thought activism could ever be sexy again? Kudos.

MARK  
Well... uh... yes... I also have a documentary I'm working on about the homeless and people living with—

ALEXI DARLING  
That's what I'm talking about. Edgy. Fresh. That's what Buzzline is all about.

JOANNE  
It is?

ALEXI DARLING  
Your attorney is tough, Mark.

Joanne smiles.

ALEXI DARLING (CONT'D)  
Okay. We might dip a little on the tabloid side. But we are a news show. And your client has a fresh eye to bring real stories to an audience. We get real programming. He gets network exposure. Not a bad way to begin a documentary career, is it?

Alexi looks at Mark, who's thinking.

JOANNE  
He gets to do his own segments?

ALEXI DARLING  
That's why he's here.

JOANNE  
And his salary—

ALEXI DARLING  
On commission. An escalating rate per segment.

JOANNE  
How much to start?

ALEXI DARLING  
Do you really want to talk about price with your client in the room?

Mark intervenes. Hasty. And funny.

MARK  
Yes. Yes, she does.

INT. CAT SCRATCH CLUB – DAY

The afternoon crowd. Mimi is standing on the runway as a middle aged tourist puts a twenty into her stocking. She smiles. Looks up. And sees...

BENNY, sitting at a table alone, holding up a 100 dollar bill. Mimi's face goes dark. She quickly snaps back into character, touches the tourist's shoulder coyly, and moves over to Benny.

BENNY  
How much for a table dance?

MIMI  
What the fuck are you doing here?

BENNY  
Getting a table dance.

MIMI  
Alright.

Mimi motions to another STRIPPER. Benny pushes her arm down.

MIMI (CONT'D)  
You're not allowed to touch us.

BENNY  
100 dollars to talk. Fair enough?

Benny makes room. Mimi doesn't take the money. She glares at him, sits down. They speak different with each other at first. A lot of street and fronting.

BENNY (CONT'D)  
You guys ruined me last night, you know? Investors.

Benny makes a hand motion. "Gone."

BENNY (CONT'D)  
My father-in-law won't speak to me. I got nothing.

MIMI  
You got your wife.

Benny keeps cool, but the simple fact is that he's not the happiest guy in the world.

BENNY  
(melancholy)  
Yeah.

MIMI  
Well, good luck finding another girl to lie to her about, alright?

BENNY  
I gave you a place to live.

MIMI  
And if you'd worn your wedding ring when we met, I wouldn't have taken it. I'm not your whore, Benny.

There is a pause, a deep tension between them, compounded by the fact that Benny is still deeply attracted to her.

BENNY  
I didn't say that.

MIMI  
Then, what? You come to evict me now? I pay rent.

BENNY  
I want to know what you were doing there.

MIMI  
Look, I didn't know that thing was about you until I saw you there.

BENNY  
Let's pretend I believe that. Would it have changed anything?

MIMI  
You try to kick your two best friends out with no notice after you gave your word.

Benny shakes his head.

MIMI (CONT'D)  
Alright, things change. Business is business. But Mark still loves you, you know that? He's fucked up about what happened. So is Roger. And Collins.

BENNY  
(smiles, incredulous)  
Roger? I can't believe you're with him. You really love that bleached—

MIMI  
Don't start that shit. This isn't about Roger.

BENNY  
What? You think you know him? I've been friends with the guy for five years.

MIMI  
Look. You're unhappy with the wife. You miss having friends. Leave me—

BENNY  
He's going to get back on his feet, and when he does, he's going to be a ghost to you. It's all music with him. I saw it before. I knew April. And let me tell you something... if she couldn't get blood from a stone with him, you don't have a chance in hell.

Mimi looks down. Benny knows her one button. Mimi doesn't exactly think she deserves much. And that one hurt. She tries not to cry.

MIMI  
Hey, I'm getting sober.

BENNY  
So, you don't want to see the shit I got in my car?

MIMI  
You're a cruel fucking bastard.

She stands. Upset.

BENNY  
Mimi...

MIMI  
I got to get back to work. Get the fuck out of here, Benny.

BENNY  
I wrote Roger half a dozen times while he was in rehab. I got zero back. You want to argue Mark; he tries to be loyal to everybody. Collins has stood the same ground as long as I've known him. Even Maureen. She's a diva. No fault there. But Roger... consider yourself warned. And God help you if you're falling in love with the guy.

Mimi pauses, considers this for a second. Benny exits.

At the back of the club, standing in the shadows, is the DEALER. Mimi, feeling weak and vulnerable, walks up to him. She removes the twenty from her stocking, pays him. The dealer holds out a small plastic bag of white powder. Mimi takes it.


	12. Contact, Without You

INT. TECHNO CLUB – NIGHT

A rave. A fantastic rave. Gay men, gay women, straight couples. Anything goes. Just dancing. And XTC. And ice water. Sweating bodies with "Contact" blasting from the DJ's platform. We move from the floor up to the table where Mark is sitting with Collins, Maureen, and Joanne. Drinking.

MARK  
I'll have enough to finish my film, get a new camera, deal with Benny—

COLLINS  
And treat your friends to a night out.

Mark holds up his trusty Visa.

MARK  
That goes without saying.

MAUREEN  
$4,000 a segment! Jesus Christ!

MARK  
It would have been 3 without Joanne.

The group turns their admiration to Joanne. Except Maureen. She's not really liking this buddy buddy stuff.

COLLINS  
It would have been zero without Maureen's social irresponsibility.

MAUREEN  
Thank you, Collins.

JOANNE  
Wait a minute. Where's Angel?

They all look around until Collins puts his ear to the air and starts laughing.

MAUREEN  
What?

COLLINS  
She's singing.

Sure enough. Angel is up on the DJ's platform with the DJ's microphone in her hand.

ANGEL_  
Take me. Take me. Take me. Woah. Woah.  
A-ha!_

Angel hits an amazing high note as the song hits a fat chord. The crowd, including the table with Collins, Mark, Maureen, and Joanne applaud.

MAUREEN  
Un-fucking-stoppable.

COLLINS  
You should see her in church.

Maureen looks at him.

COLLINS (CONT'D)  
It's a very progressive church.

Angel looks down on her friends. Her eyes find Collins. She sings to him.

ANGEL_  
Today for you. Tomorrow for me. Today me.__  
Tomorrow you. Tomorrow you. Love you.__  
Love you. I love you. I love you! Take me.  
Take me!_

The song ends with a pop. The crowd applauds, and Angel hands the microphone over to the DJ. Then sits. Looking exhausted. Collins smiles, sadly. It's not going to last.

EXT. ST MARK'S PLACE – NIGHT

The A kids are all out tonight. The shops. The food. A great energy to be around. Mimi is walking with Roger. They're window shopping. Pretending they have money.

ROGER  
I'm going to buy you that.

Roger points at a lovely necklace. The price tag reads $500.

MIMI  
That cheap thing?

ROGER  
You're right. It's beneath us. How about that?

Roger points at a lovely dress. $1,500.

MIMI  
I have three of those at home.

ROGER  
Okay. That.

Roger points at a pizza place. A slice is $1.50.

MIMI  
Oh, darling. I'm not worth it.

ROGER  
Price is no object.

EXT. TOMPKINS SQUARE PARK – NIGHT

Roger and Mimi are enjoying their pizza.

ROGER  
I figure after this, we'll get a suite at the Plaza. Some champagne.

MIMI  
Stop playing.

ROGER  
Alright.

Roger hands her a little box.

MIMI  
What's this?

ROGER  
Well, I couldn't get you a Christmas present on time, but...

Mimi beams.

MIMI  
Get out. You fucking sweetie.

ROGER  
I'm just sorry it took—

MIMI  
Shut up already and let me open the box.

ROGER  
Now, she's telling me to shut up.

Mimi opens the box. Her face freezes. It's the watch. Her grandfather's watch. She starts crying.

ROGER (CONT'D)  
Do you cry every time somebody does something nice for you?

Mimi cries harder.

MIMI  
Where's your guitar?

ROGER  
I'll get it in a week or so. Don't worry about that.

Mimi hugs Roger. Hard.

ROGER (CONT'D)  
What is it?

MIMI  
There are some things I should tell—

ROGER  
This isn't a confessional. It's a gift. Just accept it.

MIMI  
Roger, I'm not—

ROGER  
You are.

Mimi holds up the watch.

MIMI

I found this on the street.

Roger thinks for a moment. Finally...

ROGER  
What about your grandfather?

MIMI  
Oh, all that stuff was true, but he never gave me a watch. He never had anything to give to anybody. I just didn't want you to think I stole it.

ROGER  
Do you like it?

MIMI  
What?

ROGER  
Do you like the watch?

MIMI  
I think it's the most beautiful god damn watch I've ever seen.

ROGER  
Good.

MIMI  
You're not mad?

ROGER  
How can I be mad that I gave you back your grandfather's watch?

MIMI  
It could have been his watch. He lost things all the time. He was a very scattered personality.

Roger laughs.

ROGER  
And you were his favorite?

MIMI  
I was nobody's favorite.

ROGER  
Well, you are now.

Mimi holds the watch tight in her hand.

**FADE TO:**

INT. MIMI'S BEDROOM – AFTERNOON

We hear the beginning of "Without You," a gorgeous and sad ballad. The bedroom is as scattered and lovely as Mimi is. She takes out her hair clip and gets into bed with Roger. It's freezing outside the covers. They start to kiss.

INT. ELEMENTARY SCHOOL MUSIC CLASSROOM – MORNING

Angel and Collins, looking very weak and tired, step aside and introduce Mimi, and a very reluctant Roger, to the Life Support group. Steve shakes Roger's hand. Mark is there, filming in his usual corner. His camera jams. He shakes it, so tired of the old thing.

INT. MIMI'S BEDROOM – SUNSET

We see them in close. Mimi on top of Roger. Their lips just touching. Making love as she sings.

MIMI_  
Without you, the ground thaws. The rain falls.  
The grass grows._

EXT. TOMPKINS SQUARE PARK – NIGHT

The park is no longer snow covered, but budding green, scattered with flowers. It's springtime. Mimi has an envelope in her hand. She looks at the dealer in the distance, holds the envelope tighter, and keeps walking.

MIMI (V.O.)_  
Without you, the seeds root. The flowers  
bloom._

INT. PAWN SHOP – AFTERNOON

Roger opens up the envelope to find $250. Mimi points at his red guitar. He smiles. They kiss, and Mr. Alexi screams at Roger to get back to work.

MIMI (V.O.)_  
The children play._

INT. MIMI'S BEDROOM – MORNING

A different day. The same position. Mimi on top of Roger.

MIMI_  
The stars gleam. The poets dream._

INT. BENNY'S DELUXE APARTMENT – NOON

We are close on a television stationary envelope that's been opened. We move over to a check made out to Benny for $4,000. Benny looks at the signature... Mark Cohen. Benny's wife, ALLISON, stands in the doorway. Her eyes are red from crying. She is carrying a suitcase. Benny stands across the room from Allison. Her expression is sad, lonely, lost. Allison turns, exits, leaves Benny.

MIMI (V.O.)_  
The eagles fly... without you._

INT. ROGER AND MARK'S LOFT – NIGHT

Roger is playing his red guitar, serenading Mimi. The look on her face watching him is completely open and glowing.

MIMI (V.O.)_  
The Earth turns. The sun burns. But I die..._

INT. ROGER AND MARK'S LOFT – NIGHT

Angel is in bed, coughing like hell, and shaking with fever. Collins holds him.

MIMI (V.O.)_  
... without you._

INT. HOSPITAL ROOM – DAY

Angel has been admitted to the hospital. She is in bed, weak, pale. All of the bohemians fill the room, Collins with the whole group. Mimi gives Angel a present. It's a pink lingerie teddy. Everyone laughs, smiles all around. Mark films. Maureen and Joanne, standing on opposite sides of the room, exchange a glance.

MIMI (V.O.)_  
Without you, the breeze warms. The girl  
smiles. The cloud moves._

INT. TELEVISION STUDIO – MORNING

Mark and Alexi Darling are arguing over a cut on the video tape editing screen. If we look closely at the image, it's not of homeless people or folks living with AIDS.

MIMI (V.O.)_  
Without you, the tides change._

INT. ELEMENTARY SCHOOL MUSIC CLASSROOM – MORNING

Everyone is here, including Mimi, who is singing at the Life Support meeting. Roger is on his red guitar. He looks at the corner where Mark is usually set up, filming. Mark isn't there.

MIMI (V.O.)_  
The boys run. The oceans crash._

CAMERA PANS the faces of the Life Support members. As the CAMERA PASSES, some of their faces begin to FADE, DISSOLVE and eventually DISAPPEAR. When the CAMERA PULLS BACK WIDE, only a few of the members are still here.

INT. MARK AND ROGER'S LOFT – NIGHT

Roger is engrossed in his sheet music books. Mimi is trying to get him to go out. He turns away from her.

MIMI (V.O.)_  
The crowd roars. The days soar._

EXT. TOMPKINS SQUARE PARK – NIGHT

Mimi, looking sad on a bench, is approached by the dealer.

MIMI (V.O.)_  
The babies cry... without you._

INT. ROGER AND MARK'S LOFT – NIGHT

Roger is screaming at Mimi, holding a baggie of dope in his hand. Mimi is crying. We can see her say, "I'm sorry." The fight breaks, and Roger holds her.

MIMI (V.O.)_  
The moon glows. The river flows._

INT. ROGER AND MARK'S LOFT – NIGHT

Mimi and Roger are making love and making up after the fight. Same position. Same view. But the room is no longer cold, but stifling hot in summertime. A fan runs.

MIMI_  
But I die without you._

INT. MIMI'S PARENTS' APARTMENT – NIGHT

Roger is having dinner with her family. Mimi's father is giving him the eye. Mimi's mother is being hospitable.

ROGER (V.O.)_  
The world revives._

MIMI (V.O.)_  
Colors renew._

EXT. CENTRAL PARK – DAWN

The park is magnificent big green. A hot summer day. Mimi and Roger are on a picnic bench with Maureen and Joanne. A girl gives Maureen the eye. Maureen smiles. Joanne notices.

MIMI & ROGER (V.O.)_  
But I know blue. Only blue._

INT. TELEVISION STUDIO – NIGHT

Mark is up late, editing tape. We pan over to see his camera. Untouched.

MIMI & ROGER (V.O.)_  
Lonely blue. Within me, blue._

INT. ELEMENTARY SCHOOL MUSIC CLASSROOM – MORNING

Roger is working on the piano. Collins walks into the group. Mimi looks at him. He shakes his head. Angel is too sick to be there.

MIMI & ROGER (V.O.)_  
Without you._

INT. HOSPITAL ROOM – NIGHT

Mimi is sitting with Angel. Collins sleeps in the corner. Angel is so sick and pale, but she's still Angel. Making Mimi laugh. A sudden surge of pain. Mimi holds Angel, comforting him.

MIMI (V.O.)_  
Without you, the hand gropes. The ear hears.  
The pulse beats._

EXT. CLUB – NIGHT

We see a sign that reads "OPEN MIC NIGHT."

ROGER (V.O.)_  
Without you..._

INT. CLUB – NIGHT

Roger is on the stage with his red guitar, singing alone. Mimi, Maureen, Joanne, and Collins are watching him. Applauding wildly.

ROGER_  
The eyes gaze. The legs walk. The lungs  
breathe._

INT. CLUB – LATER

Roger is talking to a lot of people at the club. Managers. Booking agents. Management. Maureen, Collins, and Joanne all slap his shoulder and leave. Mimi is left, waiting. She checks her grandfather's watch.

MIMI & ROGER (V.O.)_  
The mind churns. The heart yearns._

INT. PAWN SHOP – NIGHT

The clock reads 3:30am. Roger is working on the upright piano, not even paying attention to time.

MIMI & ROGER (V.O.)_  
The tears dry. Without you. Life goes on._

INT. MIMI'S BEDROOM – NIGHT

The clock reads 3:30am. Mimi is alone, doing dope and feeling shitty and guilty.

MIMI & ROGER (V.O.)_  
But I'm gone. 'Cause I die._

INT. MIMI'S BEDROOM – AFTERNOON

Roger is on top of Mimi. Making love.

ROGER_  
Without you._

INT. HOSPITAL ROOM – NIGHT

Collins holds Angel, having trouble breathing.

ROGER (V.O.)_  
Without you._

INT. ELEMENTARY SCHOOL MUSIC CLASSROOM – MORNING

The classroom is empty. The image glides. Silent.

ROGER & MIMI (V.O.)_  
Without you._

INT. CAT SCRATCH CLUB BACKSTAGE – NIGHT

While the girls run around for their costumes, Mimi looks at her baggie. It's empty. She's completely desperate.

MIMI (V.O.)_  
Without you._

Benny enters. His expression is warm, sympathetic. Mimi starts to cry in earnest. Benny holds her.


	13. Take Me or Leave Me

INT. ALEXI DARLING'S OFFICE – DAY

Alexi is behind the desk. Mark in the visitor's seat.

ALEXI DARLING  
Mark, I promise.

MARK  
You've been promising for 8 months.

ALEXI DARLING  
The evangelist piece just fell in our laps.

MARK  
What? He's a crook. Surprise. Surprise. I want to do a real story.

ALEXI DARLING  
Mark. Just do the evangelist piece and then you can start on the thing about your friends.

Mark just gives her a look. Alexi shrugs her shoulders.

INT. CLUB – NIGHT

A banner proclaims it's jam night. Roger is on his guitar. Mark, Joanne, and Maureen are sitting, not watching him perform. A few spare musicians are pitching in. The piece is the opening of "Take Me or Leave Me."

JOANNE  
I'm sorry, Mark. I don't know what to tell you. You signed the contract.

Maureen rolls her eyes at the two of them. She notices a guy checking her out. She makes eyes back.

MARK  
Yes. I did. To do my own segments. But they never reach air the way I want. And she keeps throwing me assignments they need my "freshness" for, but I'm not feeling too fresh these days.

MAUREEN  
Try a douche.

JOANNE  
You're crude.

MAUREEN  
And you two are fucking boring. Why don't you two just get an accountant's ledger, a bottle of champagne, and go at it?

JOANNE  
Well, why don't you invite that guy you just made eyes at to join in?

MARK  
Guys. People are starting to stare.

As mentioned, the club is starting to look at them.

MAUREEN  
And how fucked up is it for you to keep helping my ex-boyfriend?

JOANNE  
He needed a lawyer. I figured I could help out since you almost got them evicted.

Maureen stands and roars.

MAUREEN  
THAT'S IT, MISS IVY LEAGUE!

JOANNE  
What?

MAUREEN  
Ever since New Year's I haven't said boo. I didn't pierce my nipples because it grossed you out. I didn't stay and dance at the Clit Club that night, 'cause you wanted to go home…

JOANNE  
You were flirting with the woman in rubber.

MAUREEN  
That's what this is about? There will always be women in rubber FLIRTING WITH ME! Give me a break.

Maureen begins singing along with the instrumental tune Roger and the musicians are jamming. It's sexy and coy.

MAUREEN (CONT'D)_  
Every single day, I walk down the street, I hear  
people say, "Baby, so sweet."_

Joanne looks around. Embarrassed.

JOANNE  
Would you sit down?

MAUREEN_  
Ever since puberty, everybody stares at me.  
Boys, girls. I can't help it, baby._

Maureen starts moving around the room. Joanne is mortified. The crowd, especially the guys, is digging this cat fight.

MAUREEN (CONT'D)_  
So be kind. Don't lose your mind. Just  
remember that I'm your baby._

Maureen goes back and stands on Joanne's table.

JOANNE  
(to the crowd)  
She's chemically imbalanced.

MAUREEN_  
Take me for what I am! Who I was meant to__  
be. And if you give a damn. Take me baby  
or leave me. Take me baby or leave me._

Maureen kisses Joanne and turns. The crowd hoots.

MAUREEN (CONT'D)_  
A tiger in a cage can never see the sun. This  
diva needs her stage. Baby, let's have fun!_

Maureen turns back. Joanne's embarrassment is starting to turn into an ugly kind of rage.

MAUREEN (CONT'D)_  
You are the one I choose. Folks'd kill to fill__  
your shoes. You love the limelight too now,  
baby!_

Maureen starts to pull up her shirt.

MAUREEN (CONT'D)_  
So be mine, but don't waste my time. Crying,_  
_"__Oh, honey bear, are you still my my my__  
baby?"_

JOANNE  
Don't you fucking dare.

Maureen stops right under her chest.

MAUREEN_  
Take me for what I am! Who I was meant to__  
be. And if you give a damn. Take me baby  
or leave me._

Maureen starts moving around, flirting with everybody. Always looking at Joanne.

MAUREEN (CONT'D)_  
No way - can I be what I'm not! But hey, don't  
you want your girl hot!_

The guy Maureen's flirting with nods at Joanne.

GUY  
You do. Trust me.

Joanne gives the guy a look of death.

MAUREEN_  
Don't fight. Don't lose your head 'cause every  
night - who's in your bed?_

Maureen gets right up in Joanne's face.

MAUREEN (CONT'D)_  
Who's in your bed, baby?_

She stops singing for a second.

MAUREEN (CONT'D)  
Kiss, Pookie.

JOANNE  
It won't work.

MAUREEN  
Come on, chicken.

Joanne stands. Mark shakes his head. Starting to feel badly about the tension he created. Joanne starts singing.

JOANNE_  
I look before I leap. I love margins and__  
discipline. I make lists in my sleep. Baby,  
what's my sin?_

Joanne gets right in Maureen's face and chest. Is this a fight or a mating ritual? The guys in the club don't care.

JOANNE (CONT'D)_  
Never quit. I follow through. I hate mess, but  
I love you. What to do with my impromptu__  
baby! So be wise 'cause this girl satisfies.__  
You've got a prize, but don't compromise.  
You're one lucky baby._

Joanne starts wailing. Her voice is fucking amazing. The kind of notes that only someone who's been kept under wraps for a long time can produce.

JOANNE (CONT'D)_  
Take me for what I am!_

Maureen looks at the crowd. Speaks.

MAUREEN  
A control freak.

JOANNE_  
Who I was meant to be!_

MAUREEN  
A snob, yet over-attentive.

JOANNE_  
And if you give a damn!_

Mark looks at Roger, who shrugs and keeps playing.

MAUREEN  
A lovable, droll geek.

JOANNE_  
Take me baby or leave me!_

MAUREEN  
And anal retentive!

They square off. The people in the club order more drinks.

MAUREEN & JOANNE_  
That's it!_

JOANNE_  
The straw that breaks my back!_

MAUREEN & JOANNE_  
I quit!_

JOANNE_  
Unless you take it back._

MAUREEN & JOANNE_  
Women!_

MAUREEN_  
What's it about them?_

MAUREEN & JOANNE_  
Can't live with them or without them!_

They claw at each other, trying to out diva, out sexy, out something each other. The first one who blinks…

MAUREEN & JOANNE (CONT'D)_  
Take me for what I am. Who I was meant to__  
be. And if you give a damn. Take me baby  
__or leave me. Take me baby or leave me.  
Guess I'm leavin'. I'm gone!_

Maureen and Joanne sit back to back. The song ends. The crowd goes insane with applause.


	14. Angel's Death, Funeral

**SMASH CUT TO:**

INT. HOSPITAL ROOM – DAY

Close on the morphine drip. And the heart monitor. Beep. Beep. Tapping. Angel, looking terribly weak, feverish, and pale as we've ever seen him, is laughing.

ANGEL  
They did what?

Collins is smiling, wiping off Angel's forehead.

COLLINS  
Broke up.

ANGEL  
During a jam session. God bless them. I give the separation a week.

Angel starts laughing, then coughing. Collins reaches for the nurse button. Angel stops his hand. Collins continues wiping off Angel's forehead.

ANGEL (CONT'D)  
Tell me about the rest of them.

COLLINS  
You can ask them yourself. They're coming by tomorrow.

ANGEL  
Yeah?

COLLINS  
What do you think? They love you.

Angel turns away. Collins looks confused. Especially when he realizes Angel is crying.

COLLINS (CONT'D)  
Angel? Hey.

Collins tries to comfort him. Angel is terribly upset.

ANGEL  
Make sure Roger writes his song. And Mark finishes his film. And get Mimi off that pipe, get her shit together. All of them. Alright?

COLLINS  
Sure.

ANGEL  
I mean it. It's important.

COLLINS  
Okay.

ANGEL  
Because they're good people, and half of them don't know it.

COLLINS  
What about the other half?

ANGEL  
They're just fucked up.

Collins laughs.

COLLINS  
And what about you?

Angel starts really crying.

COLLINS (CONT'D)  
What's wrong? Angel.

ANGEL  
I owe them.

COLLINS  
How do you owe them?

ANGEL  
Until I met you... until you all came into my life... well, I just figured I was going to be alone.

Collins holds her hand. Tries to be strong. He strokes Angel's hair, trying to get him to fall asleep. Tears are running down his face.

ANGEL (CONT'D)  
Collins...

COLLINS  
Yeah.

ANGEL  
I want you to take something with you, okay?

Collins is beside himself. He nods.

ANGEL (CONT'D)  
I'm 22 years old, and I haven't known a lot of blessings. But I have known you. And let me tell you something... I wouldn't trade you for fifty more years.

Collins takes a moment to collect himself.

COLLINS  
You wouldn't?

ANGEL  
Why? You know someone?

Collins laughs and wipes Angel's eyes. Angel smiles. Fading. The kind of peace that real pain can release. Collins laughs. And cries.

**DISSOLVE TO:**

CLOSE-UP:

The image of the HIV virus ravaging and finally destroying the T-cell. A beat.

INT. FUNERAL HOME – AFTERNOON

An old man, dressed in black, consoles a woman, and they both turn and look at something. They shake their heads in disapproval. We slowly move over to what they're looking at.

Our group of young people, dressed in their normal tattered clothes, consoling each other in one of the viewing rooms.

INT. VIEWING ROOM – AFTERNOON

The UNDERTAKER, a man with a kind and peaceful face, is standing with Collins and Mark by the closed coffin.

UNDERTAKER  
It's time we move to the church.

Collins nods sadly. Mark comforts him.

INT. CHURCH – AFTERNOON

A Puerto Rican church. A funeral Mass. A coffin rests at the front of the church, adorned with a small framed photo of Angel. The congregation is made up of the people we've seen through the course of the film, and Angel's family and friends. They are silent, straining to hold in sobs. Paul, the leader of Life Support, plays "Seasons of Love" on the piano, as some of Angel's friends say a few words.

MIMI  
It's right that it's Halloween, because it was her favorite holiday. I remember that time the skinhead was bothering her and she said she was more of a man than he'd ever be and more of a woman than he'd ever get...

The congregation stifles a laugh. Roger is too grim to laugh. Mimi returns to her pew, walks past Roger, doesn't look at him. Mimi sits beside Benny. Mark steps forward.

MARK  
... and then there was the time he walked up to this group of tourists - and they were petrified because, A - they were obviously lost and B - had probably never spoken to a drag queen before in their lives... and he... SHE just offered to escort them out of Alphabet City... And then she let them take a picture with her - and then she said she'd help 'em find the Statue of Liberty.

Again, a laugh. Mark steps down, pats Roger's shoulder, trying to console him. He's very distant. Maureen steps forward.

MAUREEN  
... so much more original than any of us – I heard the story of the time you found an old tablecloth on the street and made a dress - and next year, sure enough - they were mass producing them as the Gap. You said that last time how we were lucky that we were all friends - but it was us, baby, who were the lucky ones.

The congregation lowers its head. Joanne looks at Maureen. All of their bickering is losing importance at the moment. Maureen walks back to her seat, exchanges a glance with Joanne as she passes her, when Collins steps forward. The crowd is silent.

Collins tries to speak, but can't. He looks over at Paul, who nods, and starts playing "I'll Cover You (reprise)." Collins starts to sing. Softly.

COLLINS_  
Live in my house. I'll be your shelter. Just  
pay me back with one thousand kisses. Be__  
my lover, and I'll cover you._

Mimi looks at Roger, who refuses to make eye contact with her. The guilt and grief on her face is deafening.

COLLINS (CONT'D)_  
Open your door, I'll be your tenant. Don't got__  
much baggage to lay at your feet, but sweet__  
kisses I've got to spare. I'll be there. I'll cover  
you._

Mark, his face rigid and grim, looks at Maureen sitting apart from Joanne. He looks down.

COLLINS (CONT'D)_  
I think they meant it when they said you can't  
buy love. Now, I know you can rent it, a new__  
lease you were, my love, on life._

Maureen looks over at Joanne.

COLLINS (CONT'D)_  
All my life, I've longed to discover something  
as true as this is._

Slowly, the congregation begins to rise, one by one, and join in. It begins with the Life Support group. And Steve, crying.

LIFE SUPPORT GROUP_  
So with a thousand sweet kisses, I'll  
cover you._

COLLINS  
(simultaneously with above)_  
If you're cold, and you're lonely._

COMPANY  
(simultaneously with above)_  
525,600 minutes._

More people stand, join the Life Support group.

LIFE SUPPORT GROUP_  
With a thousand sweet kisses, I'll  
cover you._

COLLINS  
(simultaneously with above)_  
You've got one nickel only._

COMPANY (CONT'D)  
(simultaneously with above)_  
525,000 moments so dear._

Mimi stands and starts singing. Roger is keeping rigid.

LIFE SUPPORT GROUP_  
With a thousand sweet kisses, I'll  
cover you._

COLLINS  
(simultaneously with above)_  
When you're worn out and tired._

COMPANY (CONT'D)  
(simultaneously with above)_  
525,600 minutes._

Maureen and Joanne both join in. As do Mark and Benny.

LIFE SUPPORT GROUP_  
With a thousand sweet kisses, I'll  
cover you._

COLLINS  
(simultaneously with above)_  
When your heart has expired._

COMPANY (CONT'D)  
(simultaneously with above)_  
525,000 measure a year._

After a slow build, the entire company joins in. Except Roger. It's all hitting too close for him as he looks around the church. At Collins. And at the faded purple spot on Mimi's hand.

Collins' voice booms.

COLLINS & COMPANY_  
Oh, lover. I'll cover you. Oh, lover._

Roger gets up out of his seat, too upset to deal, and leaves the church. Mimi and Mark watch him go.

COLLINS_  
I'll cover you._

COMPANY_  
525,600 minutes. 525,000 seasons... of...  
love!_

COLLINS  
(an intensely passionate  
statement of enduring love and  
soulful commitment)_  
I'll cover you!_

The song peaks and ends. Roger leaves the church.


	15. Goodbye Love

EXT. CHURCH PARKING LOT – DUSK

The congregation is starting to file out, lighting cigarettes, talking about where they're going to go next. Mark is comforting Collins. A hug. No words spoken. Mark just smiles sadly, and turns to leave.

Mimi moves away from Benny, walks up to Roger. "Goodbye Love" begins.

MIMI_  
It's true? You sold your guitar and bought a  
car?_

ROGER_  
It's true. I'm leaving now for Santa Fe._  
(looks to Benny)_  
It's true? You're with this yuppie scum?_

The look on Benny's face is a mixture of things. Sympathy for Collins first. He doesn't want to deal with this right now, least of all from Roger.

BENNY_  
You said you'd never speak to him again._

MIMI_  
Not now._

Maureen, seeing the tension, has come over, unable to resist the opportunity for one more dig at Benny, and not understanding how Mimi can let him treat her like that. She is followed by Joanne, who is already upset and now flabbergasted at Maureen's picking a fight with Benny.

MAUREEN_  
Who said that you have any say in who she  
says things to at all?_

ROGER_  
Yeah._

JOANNE_  
Who said that you should stick your nose in  
other people's—_

MAUREEN  
(cutting her off)_  
Who said I was talking to you?_

A crowd is forming around them. Mark now comes over to defuse the situation. He doesn't know what the hell is going on.

JOANNE_  
We used to have this fight each night! She'd  
never admit I existed!_

MARK  
Calm down everyone, please!

MIMI  
(crying)_  
He was the same way! He was always, "Run  
away, hit the road, don't commit."_  
(slapping Roger in the face to  
cap off the next line)_  
You're full of shit!_

Benny, concerned for her safety, steps in. He's seen Roger when pushed to the brink, and holds her back.

BENNY  
Mimi!

JOANNE_  
She's in denial!_

MIMI_  
He's in denial!_

MARK  
Guys! Come on!

JOANNE_  
Didn't give an inch when I gave a mile!_

MIMI_  
I gave a mile!_

ROGER  
(just screaming)_  
Gave a mile to who?_

Mark is shocked. Benny is now furious.

MARK  
Come on guys, chill!

MIMI & JOANNE_  
I'd be happy to die for a taste of what Angel  
had! Someone to live for, unafraid to say I__  
love you!_

Roger finally loses his temper. He grabs Mimi hard and throws her to the ground. Silence. Roger closes his eyes. All of his temper goes inside along with the rest of him. He's ice. He looks at Mimi, who's just mortified.

ROGER_  
All your words are nice, Mimi, but love's not a__  
three-way street! You'll never share real love  
until you love yourself. I should know._

Collins interrupts.

COLLINS  
(upset)_  
You all said you'd be cool today. So please.__  
For my sake... I can't believe he's gone._

Collins looks to the church, back to the others, to Roger.

COLLINS (CONT'D)_  
I can't believe you're going. I can't believe__  
this family must die. Angel helped us believe  
in love - I can't believe you disagree._

ALL_  
I can't believe this is goodbye._

Maureen looks at Joanne. A beat. Maureen breaks down crying. Joanne comforts her. They hold each other.

MIMI  
I'm sorry. I'm so sorry.

ROGER  
(still testy)  
Why are you sorry, Mimi? You finally found someone you deserve.

The second he said it, he wishes he could take it back. Mimi looks like she's just been slapped. She stops crying. Roger can't deal. He walks away.

MIMI  
Hey!

Roger turns to face Mimi, who is furious.

MIMI (CONT'D)  
You think that? You really think that? Then, I'm glad. You hear me, you cold, selfish bastard? I'm fucking glad. There... I gave you an excuse, you chicken shit. Walk away.

Mimi runs off. Roger is struck silent. He doesn't chase after her. He just turns to Benny, who suddenly looks terrible. It might have been a game. It might have been revenge. It might have been that he was lonely. But Benny had no idea the damage he would cause with this. None.

He makes the motion to apologize, but Roger just turns and leaves. Benny then turns to find Mark looking at him. Shocked and heart-broken. Mark walks off.

INT. ROGER AND MARK'S LOFT – NIGHT

Mark walks in the door to find Roger throwing all his things in a duffel bag, getting ready to leave. Roger nods his "hello." It's tense. Mark breaks the ice.

MARK_  
I hear there are great restaurants out West._

ROGER_  
Some of the best._

Long pause. Roger is just packing. Numb. He finally brings it up.

ROGER (CONT'D)_  
How could she?_

MARK_  
How could you let her go?_

ROGER  
_You just don't know... how could we lose  
Angel?_

MARK_  
Maybe you'll see why when you stop escaping  
__your pain! At least now, if you try, Angel's  
death won't be in vain._

ROGER_  
His death is in vain._

MARK_  
Are you insane? There's so much to care  
about! There's me. There's Mimi..._

ROGER_  
Mimi's got her baggage, too._

MARK_  
So do you!_

ROGER_  
Who are you to tell me what I know, what to  
do?_

MARK_  
A friend._

ROGER_  
But who, Mark, are you? "Mark has got his  
work," they say. "Mark lives for his work."_  
_"__Mark's in love with his work." Mark hides in__  
his work._

Mark is surprised. And hurt.

MARK_  
From what?_

ROGER_  
From facing your failure, facing your  
loneliness, facing the fact you live a lie._  
(off Mark's incredulous look)_  
Yes, you live a lie! Tell you why..._

Roger heads to his bedroom. Mark follows. Angry.

ROGER (CONT'D)_  
... you're always preaching not to be numb,  
when that's how you thrive! You pretend to__  
create and observe when you really detach  
from feeling alive!_

MARK  
_Perhaps it's because I'm the one of us to  
survive._

The admission hits Mark. He is upset now.

ROGER_  
Poor baby._

Roger brings his shit into the living room. Mark follows.

MARK_  
Mimi still loves you. Are you really jealous, or  
afraid that Mimi's weak?_

ROGER_  
Mimi did look pale..._

MARK_  
Mimi's gotten thin, Mimi's running out of time,  
and you're running out the door!_

Roger gets in Mark's face.

ROGER_  
No more! Oh no!_

Roger takes his bags and starts to head toward the door.

ROGER (CONT'D)_  
I've got to go._

MARK_  
Hey..._

He looks back.

MARK (CONT'D)_  
For somebody who's always been let down,  
who's heading out of town?_

ROGER_  
For someone who longs for a community of  
his own, who's with his camera, alone?_

Roger hesitates a moment.

ROGER (CONT'D)_  
I'll call. I hate the fall._

Roger opens the door, revealing... Mimi, gravely upset. He's shocked to see her. Her face. It's different. Raw and still. Ready to break.

ROGER (CONT'D)_  
You heard?_

MIMI_  
Every word._

Roger stands silent. Unmoving.

MIMI (CONT'D)_  
You don't want baggage without lifetime  
__guarantees? You don't want to watch me die?__  
Well, I just came to say, goodbye, love.  
Goodbye, love. Came to say, goodbye, love._

ROGER_  
Goodbye._

CAMERA FOLLOWS Roger as he walks by her and heads down the stairs, cutting back to Mimi as she's singing.

MIMI_  
Just came to say, goodbye, love.__  
Goodbye, love. Goodbye, love,  
goodbye._

ROGER  
(simultaneously)_  
Glory... one blaze of glory... I have to__  
find._

EXT. LOFT – NIGHT

Roger walks outside, gets into a battered, rusted blue Mustang and drives off.

INT. LOFT – HALLWAY – NIGHT

The stillness is gone. Mimi stands at the top of the stairs, shattered, crying, wringing her hands, starting to get hysterical. Mark tries to touch her shoulder to calm her.

MIMI_  
Please don't touch me. Understand._

She goes into the loft. Mark follows.

INT. LOFT – NIGHT

Mimi walks to the window.

MIMI_  
I'm scared. I need to go away._

MARK_  
I know a place. A clinic._

MIMI_  
A rehab?_

MARK_  
Maybe._

MIMI_  
Could you..._

MARK_  
I'll pay._

Mimi heads toward the door. On the edge.

MIMI  
No. I can't waste anybody's time anymore. Thank you. You're very sweet. You take care. Okay? Maureen didn't know what she had, okay? Remember that.

Mark's eyes fill with tears. Mimi shakes her head.

MIMI (CONT'D)  
Oh, honey. Don't cry about us anymore.

Mimi rubs his shoulder. The door closes. Mark pauses at the door, then stares out the window.

MARK'S POV

Roger's car drives off on the streets, disappearing into the night.

MIMI (V.O.)_  
Goodbye, love. Goodbye, love. Came to say__  
goodbye, love. Goodbye. Just came to say__  
goodbye, love. Goodbye, love. Goodbye,  
love._  
(softly)_  
Hello - disease._


	16. What You Own

INT. TELEVISION STUDIO – DAY

The set of Buzzline. Mark, looking wiped out exhausted, walks past the studio audience and a cheesy STUDIO HOST.

STUDIO HOST  
After the break... vampire welfare queens who are also compulsive bowlers.

A frustrated Mark returns into the shot. He can't believe what he just heard. This is _it_.

MARK  
Oh, FUCK this!

The opening chords of "What You Own" fill the soundtrack.

MARK (CONT'D)_  
Don't breathe too deep. Don't think all day.  
Dive into work. Drive the other way._

Mark turns, storms out of the studio, walks down the hallway.

MARK (CONT'D)_  
That drip of hurt. That pint of shame, goes  
away. Just play the game._

EXT. HIGHWAY 78 EAST - PENNSYLVANIA - DAY

Roger's Mustang is gliding down the highway. We hear Mark's VOICE, singing.

MARK (V.O.)_  
You're living in America, at the end of the  
millennium._

INT. MUSTANG - DAY

Roger rolls down the window and breathes in the country air. He turns on the radio. It's as if "What You Own" is playing. Roger listens to a couple of bars.

MARK (V.O.)_  
You're living in America, leave your  
conscience at the tone._

Roger then turns the radio dial to another station.

INT. CAT SCRATCH CLUB – DAY

The song continues as Mimi walks the runway, getting five and ten dollar bills shoved into her stockings.

MARK (V.O.)_  
And when you're living in America..._

EXT. TOMPKINS SQUARE PARK – NIGHT

The air is turning cold as Mimi hands the money over to the dealer in exchange for a baggie.

MARK (V.O.)_  
... at the end of the millennium..._

INT. MIMI'S BEDROOM – NIGHT

The window is open. The air is freezing. But Mimi isn't feeling anything. The baggie is empty at the end table next to her grandfather's watch.

MARK (V.O.)_  
... you're what you own._

INT. MUSTANG – DAWN

Roger looks at his reflection in the rear view mirror. The light coming from the East hits his eyes. Roger rubs them. Tired. It looks like he hasn't slept at all.

ROGER_  
The filmmaker cannot see._

EXT. HIGHWAY 10 EAST – NEW MEXICO – NIGHT

The Mustang passes a sign that reads SANTA FE. 60 miles.

MARK (V.O.)_  
And the songwriter cannot hear._

QUICK MONTAGE

Mimi takes a music box off her night stand. Mr. Alexi gives Mimi 20 dollars for the music box. The dealer gives Mimi a baggie for the 20 dollars.

ROGER (V.O.)_  
Yet I see Mimi everywhere._

INT. EDITING ROOM – NIGHT

CLOSE-ON: Shaky, documentary footage, a brief collage of our seven bohemians, in happier days. There are snippets of Maureen's performance, Life Support group, La Vie Boheme, Angel's dance, etc.

CAMERA PULLS BACK. Mark is seated at his editing bay, watching the footage, satisfied, happy.

MARK_  
Angel's voice is in my ear._

INT. DINER – DAY

Roger sits at the counter, scrawls song lyrics on a napkin. We can make out the words _Your Eyes_.

ROGER_  
Just tighten those shoulders._

INT. BUZZLINE – SET – DAY

Mark shoots behind the scenes of Buzzline. Make-up. Props. Sets. Rehearsals. Corporate sponsor logos.

MARK_  
Just clench your jaw till you frown._

ROGER (V.O.)_  
Just don't let go..._

INT. MIMI'S BEDROOM – NIGHT

We move around the room to see the spot on the wall where a poster used to be. Then a missing chair. Then a dresser. She's pawned it all. The only thing left in the room is Mimi, holding her grandfather's watch, and a lot of empty baggies. Mimi is desperately searching for any signs of left-over cocaine.

When she finds none, she leaves her apartment.

ROGER & MARK (V.O.)_  
... or you may drown._

EXT. CENTRAL PARK WEST – NIGHT

Mimi, pale and thin, is wandering the streets, asking people for change.

ROGER & MARK (V.O.)_  
You're living in America at the end of the  
millennium._

They look at her with fear and disgust.

ROGER & MARK (V.O.)_  
You're living in America where it's like the  
Twilight Zone._

Scared and shivering, she finally just runs into the park.

ROGER & MARK (V.O.)  
_And when you're living in America, at the end  
of the millennium, you're what you own!_

EXT. SANTA FE – NIGHT

Roger's Mustang turns off the exit ramp out of the city.

ROGER & MARK_  
So, I own not a notion. I escape and ape  
content. I don't own emotion. I rent!_

INT. EDITING ROOM – DAY

Mark is cutting footage of Collins and Mimi with Joanne. The last image is of Mimi, bright and happy on New Year's Eve.

MARK_  
What was it about that night?_

EXT. TRUCK STOP – NIGHT

The terminal is empty. Roger's pulled off the highway. He is feverishly writing song lyrics on a yellow pad, takes a beat to glance out the window as America is rushing by.

ROGER_  
What was it about that night?_

INT. EDITING ROOM – DAY

Mark has completely filled an editing log. The final images he cuts are of himself and Angel. He shoves the reels into his backpack.

ROGER & MARK (V.O.)_  
Connection in an isolating age?_

MARK_  
For once the shadows gave way to light._

INT. MUSTANG – DAY

Begin tight on Roger, looking at the road ahead.

ROGER_  
For once the shadows gave way to light._

EXT. GEORGE WASHINGTON BRIDGE – DAY

Hundreds of cars pour across the bridge.

ROGER & MARK_  
For once I didn't disengage._

INT. EDITING ROOM – DAY

Mark rushes through countless hanging strips of celluloid and out the door.

MARK_  
Angel, I hear you. I hear it. I see it. I see it.  
My film._

EXT. NEW YORK STREETS – DAY

Roger drives his car, faster, faster.

ROGER_  
Mimi, I see you. I see it. I hear it. I hear it. My  
song!_

INT. ALEXI DARLING'S OFFICE – DAY

Alexi is on the phone. Mark walks in with the 3/4" tape without knocking. He puts it on her desk. Music plays in the background on a portable radio, the lyrics audible but mixed low.

ROGER (V.O.)  
(muted, in background, during  
following)_  
One song. Glory! Mimi... your eyes._

MARK_  
Alexi..._

She puts her hand on the phone.

ALEXI DARLING_  
Mark?_

MARK_  
Call me a hypocrite._

Alexi hangs up.

MARK (CONT'D)_  
I need to finish my own film. I quit._

Alexi stands up from behind her desk shaking her head.

EXT. TELEVISION STUDIO – DAY

Mark walks out of the studio, carrying a duffel bag, and an envelope.

ROGER & MARK (V.O.)_  
Dying in America, at the end of the  
__millennium. We're dying in America to come  
into our own._

INT. ROGER AND MARK'S LOFT – NIGHT

A key goes into the lock. The door opens revealing Mark, still carrying the duffel bag.

ROGER & MARK (V.O.)_  
And when you're dying in America, at the end  
of the millennium..._

He looks up to find Roger sitting on the couch.

ROGER & MARK (V.O.)_  
... you're not alone. I'm not alone._

They stare for a moment. Then...

ROGER & MARK_  
I'M NOT ALONE!_

Mark smiles as the song ends in a flourish.


	17. The Search for Mimi

INT. MIMI'S BEDROOM – MORNING

Roger walks in to see all the furniture gone and baggies everywhere. Roger is upset. Speechless. He leaves in a hurry. The image is bouncing.

INT. CAT SCRATCH CLUB – LATE MORNING

The manager shakes her head no. Roger leaves.

EXT. PARK – LATE MORNING

Mark is putting Mimi's photograph on telephone poles.

INT. BENNY'S DELUXE APARTMENT – NOON

Benny is talking with some new investors, who look a lot less uptight than the old ones. Suddenly, there's a furious POUNDING on the door.

BENNY  
Excuse me a moment, gentlemen.

INT. HALLWAY – NOON

The door opens. Benny is shocked to see Roger, but then immediately realizes why Roger is here.

ROGER  
No bullshit. I swear. I'll bury it all right now. Do you know where she is?

There's no sense of anger between these two. Only a sense of loss.

BENNY  
I haven't seen her since the funeral.

ROGER  
She didn't come to you for money? There were baggies everywhere.

Benny shakes his head. No. Roger nods, feeling helpless, lost, and leaves.

ROGER (CONT'D)  
Thanks.

BENNY  
Good luck, Roger.

EXT. EAST VILLAGE STREET – EARLY AFTERNOON

Collins and Maureen are showing pictures of Mimi to passersby. Joanne joins them with cups of coffee, hope in her eyes. They shake their heads.

INT. PAWN SHOP – LATE AFTERNOON

Mr. Alexi shakes his head.

MR. ALEXI  
She has not been here in long time, Mr. missing employee.

ROGER  
Thank you, sir.

Roger rushes out the door. Mr. Alexi looks at a customer and curses about Roger in Greek.

EXT. TOMPKINS SQUARE PARK – DUSK

The dealer is passing a dime bag off to GREEN CAP. Roger looks at him, calms his nerves, and approaches.

DEALER  
Pretty boy.

ROGER  
Do you know where she is?

DEALER  
Who?

It's a standoff. Roger shrugs and hands the dealer a small wad of bills.

EXT. CENTRAL PARK – NIGHT

Roger enters the park. Bums on benches. Gangs of kids. Dangerous. We hear the opening chords of "Finale." A group of homeless people stand in one spot, begging for handouts from the passersby.

HOMELESS GROUP_  
Christmas bells are ringing. Christmas bells__  
are ringing. Christmas bells are ringing. How  
time flies when compassion dies._

People pass, ignoring the homeless.

HOMELESS GROUP (CONT'D)_  
No stockings. No candy canes. No__  
gingerbread. No safety net. No loose  
change. No change, no._

ONE HOMELESS MAN_  
Santy Claus is coming._

HOMELESS GROUP_  
'__Cause Santy Claus ain't coming. No room at__  
the Holiday Inn. Again. Well, maybe next  
year or when._

Roger walks past some trees and looks at the view of the GREAT LAWN, cast in moonlight. He rushes to the center of it. And sees a form on the ground... thin, tattered, under filthy blankets.

ROGER  
Mimi! Mimi!

Roger walks up slowly. Scared shitless.

ROGER (CONT'D)  
Mimi?

Mimi turns over. It's jarring. She looks like a ghost. Pale and sick and frightening.

MIMI  
Angel?

Roger is shocked. Like a gut shot. He looks at her hand. She's still clutching her grandfather's watch.

ROGER  
Oh, Jesus.


	18. Finale A

INT. HOSPITAL ROOM – NIGHT

The only sound is the slow beep of the heart monitor. The door opens slowly. A nurse shows Roger into the room, which is crowded with other poor folks without health insurance.

NURSE  
Only for a minute. She's very tired.

Roger nods and slowly walks to the bed. Mimi is there. She's so sick. They begin to sing .

MIMI_  
I should tell you. I should tell you._

Roger kneels at her bedside. Takes her hand. He doesn't know what to say.

ROGER_  
I should tell you. I should tell you._

MIMI_  
I should tell you. Benny wasn't any-_

Mimi starts to cry. Roger smiles. He touches her face to calm her.

ROGER_  
Shhh. I know. I should tell you why I left. It  
wasn't 'cause I didn't..._

She touches his face. Roger nods.

MIMI_  
I know._

Mimi smiles weakly. Happy. It hits something in Roger. He starts crying.

MIMI (CONT'D)  
(slowly, ready to fade)_  
I should tell you-_

ROGER  
(the words are wrenched out  
slowly, beside himself)_  
I should tell you._

MIMI  
(smiles weakly, getting tired)_  
I should tell you._  
(whispering)_  
I love you._

Roger grips her hand, desperate. He cries. It's music to his ears.

Mimi smiles and closes her eyes. Roger holds her and sobs. A long moment. Then, he looks at the heart monitor. It's still beeping. Quietly.

INT. EMERGENCY ROOM – NIGHT

Mark rushes into the waiting room. He finds Roger, pacing. Out of his mind with worry. His eyes all panic tears.

MARK  
Hey.

Roger can't even speak.

MARK (CONT'D)  
Is she okay?

ROGER  
I don't know. She passed out. The doctors are... I don't know.

Mark encourages Roger to sit.

MARK  
Hey, calm down.

Roger can't calm down. Nor will he calm down. He's a wreck.

ROGER  
It can't happen again. It can't.

MARK  
She's going to be okay. Sit down.

ROGER  
I don't know. It's not good, Mark. They won't even let me in there now. I'm sorry I was so... I didn't mean those things.

MARK  
Hey. It's okay. I'm sorry, too.

ROGER  
No, you were right. About me. I mean. I just... realizing you're an asshole... it takes time.

Mark laughs. Roger smiles. Crazed.

ROGER (CONT'D)  
I guess that is kind of funny. Hey... keep going... it's a good distraction...

MARK  
I quit my job. Finishing my film.

ROGER  
That's great. Really. Maybe we could put together all our stuff. Your film. The music. You know?

Mark doesn't know what to do. Roger is just ranting.

MARK  
That would be great.

ROGER  
Yeah. A show at CB's or something with the Life Support group. We could perform for Mimi. She'd like that.

MARK  
She would.

ROGER  
Yeah, and she needs to hear this song I wrote because she's the song really. And she can't die thinking I hate her.

With that, Roger bursts and grabs Mark. Mark holds him as Roger lets out sobs. Roger suddenly lets go. And laughs.

MARK  
What?

ROGER  
I'm crying on your god damn shoulder.


	19. Your Eyes, Finale B

EXT. CBGB'S – NIGHT

The crowd outside the club looks different. The A kids aren't around. The group is a little older.

SUBTITLE: December 21, 1995

INT. CBGB'S – NIGHT

Roger is on the stage with his acoustic guitar. He's still charismatic, but it's changed. Grown. So, has his band. The Well Hungarians are long gone. And now... it's the Life Support group. Piano. Drums. Mark is there filming. His camera jams. He smacks it. Roger looks sad as he begins to sing "Your Eyes."

ROGER_  
Who do you think you are? Leaving me alone__  
with my guitar. Listen there's something you  
should hear. It isn't much but it took all year._

He begins to pluck out a melody. Without an amp, it's just thin notes. We move away from him as Roger sings his one great song.

ROGER (CONT'D)  
(gently)_  
Your eyes, as we said our goodbyes. Can't__  
get them out of my mind. And I find I can't__  
hide from your eyes. The ones that took me__  
by surprise. The night you came into my life.  
Where there's moonlight. I see your eyes._

Roger sings with all of his heart as the rest of the band begins to quietly join the piece.

ROGER (CONT'D)_  
How'd I let you slip away? When I'm longing  
so to hold you? Now I'd die for one more day,__  
'__cause there's something I should have told__  
you. Yes, there's something I should have__  
told you. When I looked into your eyes. Why__  
does distance make us wise? You were the  
__song all along and before the song dies. I__  
should tell you. I should tell you. I have  
always loved you. You can see it in my eyes._

The song breaks into a huge electric crunch of "Musetta's Waltz" from _La Bohéme_. A formerly junkie kid, bearing a familiar guitar with "Lucille" embossed on it in silver letters, plays the shit out of the lick.

ROGER (CONT'D)_  
Mimi!_

We see MIMI, smiling her ass off. She's sitting with Collins and Joanne and Maureen. She looks a little better. Enough for three more good months.

MIMI  
He's so fucking dramatic.

Collins rubs her shoulder. The song ends to big applause. Mimi claps loudly. Whistling.

As the group on the stage sets up for another number, Collins drains a fine Stoli, and turns to the girls.

COLLINS  
I should tell you ladies... I rewired the ATM at the food emporium to give an honorarium to anyone with the code.

Collins holds up a wad of bills.

JOANNE  
That's illegal...

COLLINS  
No shit.

MIMI & MAUREEN  
What's the code?

COLLINS  
A-N-G-E-L.

JOANNE  
I think I'll be able to remember that one.

Collins smiles, and then shushes the girls as Roger comes up to the microphone, now sporting his red guitar. Light applause.

ROGER  
Thank you. I promise no big speeches...

The crowd applauds loudly.

ROGER (CONT'D)  
Fuckers.

The crowd laughs.

ROGER (CONT'D)  
All I wanted to say is that I don't know what next year will bring. Or next season. Or tomorrow. So this song, which is really just a combination of a lot of things I've heard and seen over the past two years, is for Angel. And Steve, everybody's favorite policeman, whom we lost last week. Mark.

The crowd applauds as the lights dim and a 16mm projector is turned on. Mark's film, in its grainy glory, is projecting behind the band. The image is of Angel at the Life Support group. It's quiet for a moment as Mark gets on the stage. Then, a piano chord is struck hard on the stage. Mark sings.

MARK_  
There is no future. There is no past._

ROGER_  
Thank God this moment's not the last._

As the piano swells, Roger looks at Mimi. They sing to each other.

ROGER & MIMI_  
There's only us. There's only this. Forget  
regret or life is yours to miss._

LIFE SUPPORT GROUP_  
No other road. No other way. No day but  
today._

The lights on the stage get brighter as the Life Support group comes up to the mic and the crowd in CB's starts joining in. Someone picks up the film projector and shines the images all over the crowd. The song breaks big.

WOMEN_  
I can't control._

MEN  
(simultaneously)_  
Will I lose my dignity._

Collins joins the men singing. He's smiling.

WOMEN_  
My destiny._

MEN_  
Will someone care._

Mimi joins in with the women.

WOMEN_  
I trust my soul._

MEN_  
Will I wake tomorrow..._

Maureen and Joanne look at each other and join in.

WOMEN_  
My only goal is just to be._

MEN_  
... from this nightmare._

Mimi looks at Roger and sings.

WOMEN_  
Without you, the hand gropes, the ear  
hears, the pulse beats._

MEN_  
There's only now. There's only here.  
Give in to love. Or live in fear._

Roger looks at Mimi and sings.

WOMEN_  
Life goes on. But I'm gone. 'Cause I  
die without you._

MEN_  
No other path. No other way. No day  
but today._

Mark is looking at the crowd and sees a girl singing. She smiles at him as much a part of the event as he is. He looks at Joanne and Maureen and smiles.

WOMEN_  
I die without you._

MEN_  
No day but today._

The band is banging out the music.

WOMEN_  
I die without you._

MEN_  
No day but today._

The pianist is hitting the chords hard. Singing.

WOMEN_  
No day but today. I die without you._

MEN_  
No day but today._

We go wider. And the whole CB crowd is singing.

ALL_  
No day but today!_

The voices melt into one shouting wave as Mark's filmed images reveal face after face after face in a final rapid fire collage.

A collection of images that link the homeless, the Life Support group, Benny, Mimi, Roger, Mark, Collins, Maureen, Joanne, Steve. Our favorite moments: "La Vie Bohéme," "Today 4 U," "Rent," "Santa Fe," Maureen's protest, New Year's Eve. And finally... Angel in Tompkins Square Park. Warm. Smiling. Very much alive. At peace.

The piano fades. The song ends.

**FADE OUT.**


End file.
